VOLUME II.

PHOTOGRAVURES AND ETCHINGS.

_Illustration_ _Artist_ LA CIGALE (_colored_) E. METZMACHER _Frontispiece_ FATES (THE) PAUL THUMANN 6 GABRIEL AND EVANGELINE FRANK DICKSEE 56 GANYMEDE F. KIRCHBACH 64 HAMLET AND THE GRAVEDIGGER P.A.J. DAGNAN-BOUVERET 140 HAMLET AND HIS FATHER’S GHOST E. VON HOFFTEN 142 HERODIAS BENJAMIN CONSTANT 172 LORELEI (THE) W. KRAY 340

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WOOD ENGRAVINGS AND TYPOGRAVURES. FALSTAFF AND MRS. FORD. 2 FARIA ENTERS DANTES’S CELL JANET LANGE 4 FATIMA AND ANNA GUSTAVE DORÉ 8 FATINITZA ADRIEN MARIE 10 FATMÉ N. SICHEL 12 FAUNTLEROY (LITTLE LORD) F. M. SPIEGLE 14 FAUST AND MARGARET IN THE GARDEN GABRIEL MAX 16 FITZJAMES AND RODERICK DHU J. B. MCDONALD 22 FITZWALTER (ALURED) AND ROSE HIS WIFE BEAR HOME THE FLITCH OF BACON;—JOHN GILPIN THOMAS STOTHARD 24 FLAVIO AND HILARIA 26 FLORESTAN SAVED BY LEONORA EUGEN KLIMSCH 30 FRANZ, ADELAIDE AND THE BISHOP OF BAMBERG CARL BECKER 46 FRITHIOF AND INGEBORG R. BENDEMANN 50 FRITHIOF AT THE COURT OF KING RING FERD. LEEKE 52 FROU-FROU GEORGES CLAIRIN 54 GAMP (SAIREY) FREDERICK BARNARD 60 GANN (CAROLINE), THE LITTLE SISTER FREDERICK BARNARD 62 GARRICK (DAVID) AS ABEL DRUGGER JOHANN ZOFFANY 66 GAUTHIER (MARGUÉRITE), LA DAME AUX CAMÉLIAS 68 GAVROCHE E. BAYARD 70 GHENT TO AIX (HOW WE BROUGHT THE GOOD NEWS FROM) 78 GILDA AND RIGOLETTO HERMANN KAULBACH 86 GLAUCUS AND NYDIA W. E. LOCKHART 94 GOBBO (LAUNCELOT) 98 GODIVA J. VON LERIUS 100 GRACCHI (THE MOTHER OF THE) SCHOPIN 108 GRASSHOPPER (THE) AND THE ANT J. G. VIBERT 112 GREY (LADY JANE), EXECUTION OF PAUL DELAROCHE 118 GULLIVER CHAINED J. G. VIBERT 130 GUNTHER (KING) B. GUTH 132 HADWIG (FRAU) INTO THE CONVENT, EKKEHARD BRINGING CARL VON BLAAS 134 HAIDÉE 136 HALIFAX (JOHN) SAVING THE BANK J. NASH 138 HARLOWE (CLARISSA) C. LANDSEER 144 HAROLD (EDITH FINDING THE BODY OF) 146 HAROLD (KING) AND THE ELFINS ALBERT TSCHAUTSCH 148 HATTERAICK (DIRK) AND MEG MERRILEES J.B. MCDONALD 150 HEBE CANOVA 154 HECTOR AND ANDROMACHE A. MAIGNAN 156 HEEP (URIAH) FREDERICK BARNARD 158 HELEN (THE ABDUCTION OF) R. VON DEUTSCH 160 HELOISE GLEYRE 163 HENRY THE EIGHTH AND ANNE BOLEYN C. VON PILOTY 164 HERMANN AND DOROTHEA W. VON KAULBACH 166 HERMIONE 168 HERO AND LEANDER FERDINAND KELLER 170 HETTY (DINAH AND) 174 HIPPOLYTUS (DEATH OF) RUBENS 176 HOFER (ANDREAS) AT INNSBRUCK FRANZ VON DEFREGGER 178 HOP-O’-MY-THUMB GUSTAVE DORÉ 182 HORATII (THE OATH OF THE) L. DAVID 184 HYPATIA A. SEIFERT 198 IANTHE 200 ILSE IN THE FARM-STABLE PAUL MEYERHEIM 202 IMMO AND HILDEGARD HERMANN KAULBACH 204 IMOGEN IN THE CAVE T. GRAHAM 206 INGOMAR (PARTHENIA AND) G. H. SWINSTEAD 212 IPHIGENIA EDMUND KANOLDT 214 IRENE AND KLEA E. TESCHENDORFF 216 ISABELLA AND THE POT OF BASIL HOLMAN HUNT 218 ISABELLE OF CROYE AND CHARLES OF BURGUNDY (INTERVIEW BETWEEN) A. ELMORE 220 JINGLE (ALFRED) FREDERICK BARNARD 240 JOAN OF ARC EMMANUEL FRÉMIET 242 JOHN OF LEYDEN FERDINAND KELLE 248 JOURDAIN (MONSIEUR) AND NICOLE C.R. LESLIE 250 JUAN (DON) IN THE BARQUE EUGÈNE DELACROIX 252 KÄGEBEIN AND BODINUS CONRAD BECKMANN 256 LALLA ROOKH A. DE VALENTINE 292 LANCELOT AND ELAINE 294 LANTENAC AT THE STONE PILLAR G. BRION 296 LEAR (KING) AND THE FOOL GUSTAV SCHAUER 310 LECOUVREUR (ADRIENNE) AS CORNELIA ANTOINE COYPEL 312 LEIGH (SIR AMYAS) C. J. STANILAND 314 LEONORA AND FERDINANDO J. B. DUFFAUD 318 LOHENGRIN (ELSA AND) 336 LOUIS XI M. BAFFIER 342 LOUISE, THE GLEE-MAIDEN ROBERT HERDMAN 344

PREFACE.

An American reprint of “_The Reader’s Handbook of allusions, references, plots and stories, by the Rev. E. Cobham Brewer, LL.D., of Trinity Hall, Cambridge_,” has been for several years in the hands of cis-Atlantic students.

Too much praise cannot be awarded to the erudition and patient diligence displayed in the compilation of this volume of nearly twelve hundred pages. The breadth of range contemplated by the learned editor is best indicated in his own words:

“The object of this _Handbook_ is to supply readers and speakers with a lucid, but very brief account of such names as are used in allusions and references, whether by poets or prose writers;—to furnish those who consult it with the plot of popular dramas, the story of epic poems, and the outline of well-known tales. The number of dramatic plots sketched out is many hundreds. Another striking and interesting feature of the book is the revelation of the source from which dramatists and romancers have derived their stories, and the strange repetitions of historic incidents. It has been borne in mind throughout that it is not enough to state a fact. It must be stated attractively, and the character described must be drawn characteristically if the reader is to appreciate it, and feel an interest in what he reads.”

All that Dr. Brewer claims for his book is sustained by examination of it. It is nevertheless true that there is in it a mass of matter comparatively unattractive to the American student and to the general reader. Many of his “allusions” are to localities and neighborhood traditions that, however interesting to English people, seem to us trivial, verbose and inopportune, while he, whose chief object in the purchase of the work is to possess a popular encyclopædia of literature, is rather annoyed than edified by even an erudite author when his “talk is of oxen,” fish, flesh and fowl.

Furthermore, the _Handbook_ was prepared so long ago that the popular literature of the last dozen years is unrecorded; writers who now occupy the foremost places in the public eye not being so much as named.

In view of these and other drawbacks to the extended usefulness of the manual, the publishing-house whose imprint is upon the title-page of the present work, taking the stanch foundation laid by Dr. Brewer, have caused to be constructed upon it a work that, while retaining all of the original material that can interest and aid the English-speaking student, gives also “characters and sketches found in _American_ novels, poetry and drama.”

It goes without saying that in the attempt to do this, it was necessary to leave out a greater bulk of entertaining matter than could be wrought in upon the original design. The imagination of the compiler, to whose reverent hands the task was entrusted, recurred continually, while it was in progress, to the magnificent hyperbole of the sacred narrator—“The which, if they should be written, every one, I suppose that even the world itself could not contain the books that should be written.” Appreciation of the honor put upon her by the commission deepened into delight as the work went on—prideful delight in the richness and variety of our national literature. To do ample justice to every writer and book would have been impossible, but the leading works of every author of note have the honorable place. It is hoped that the company of “characters” introduced among _dramatis personæ_ of English and foreign classics, ancient and modern, will enliven pages that are already fascinating. Many names of English authors omitted from the _Handbook_ for the reason stated awhile ago, will also be found in their proper positions.

The compiler and editor of this volume would be ungrateful did she not express her sense of obligation for assistance received in the work of collecting lists of writers and books from “_The Library of American Literature_,” prepared by Mr. Edmund Clarence Stedman and Miss Ellen Hutchinson.

Besides this, and a tolerable degree of personal familiarity with the leading literature of her own land, her resort has been to the public libraries in New York City—notably, to _The Astor_ and _The Mercantile_. For the uniform courtesy she has received from those in charge of these institutions she herewith makes acknowledgement in the publisher’s name and in her own.

MARION HARLAND.

CHARACTER SKETCHES OF ROMANCE, FICTION, AND THE DRAMA.

=Falkland=, an aristocratic gentleman, of a noble, loving nature, but the victim of false honor and morbid refinement of feeling. Under great provocation, he was goaded on to commit murder, but being tried was honorably acquitted, and another person was executed for the crime. Caleb Williams, a lad in Falkland’s service, accidently became acquainted with these secret facts, but, unable to live in the house under the suspicious eyes of Falkland, he ran away. Falkland tracked him from place to place, like a blood-hound, and at length arrested him for robbery. The true statement now came out, and Falkland died of shame and broken spirit. —W. Godwin, _Caleb Williams_ (1794).

⁂ This tale has been dramatized by G. Colman, under the title of _The Iron Chest_, in which Falkland is called “Sir Edward Mortimer,” and Caleb Williams is called “Wilford.”

=False One= (_The_), a tragedy by Beaumont and Fletcher (1619). The subject is the amours of Julius Caesar and Cleopat´ra.

=Falsetto= (_Signor_), a man who fawns on Fazio in prosperity, and turns his back on him when fallen into disgrace.—Dean Milman, _Fazio_ (1815).

=Falstaff= (_Sir John_), in _The Merry Wives of Windsor_, and in the two parts of _Henry IV._, by Shakespeare. In _Henry V._, his death is described by Mrs. Quickly, hostess of an inn in Eastcheap. In the comedy, Sir John is represented as making love to Mrs. Page, who “fools him to the top of his bent.” In the historic plays, he is represented as a soldier and a wit, the boon companion of “Mad-cap Hal” (the prince of Wales). In both cases, he is a mountain of fat, sensual, mendacious, boastful, and fond of practical jokes.

In the king’s army, “Sir John” was Captain, “Peto” Lieutenant, “Pistol” ancient [ensign], and “Bardolph” Corporal.

C.R. Leslie says: “Quin’s ‘Falstaff’ must have been glorious. Since Garrick’s time there have been more than one ‘Richard,’ ‘Hamlet,’ ‘Romeo,’ ‘Macbeth,’ and ‘Lear;’ but since Quin [1693-1766] only one 'Falstaff,' John Henderson [1747-1786].”

Falstaff, unimitated, inimitable, Falstaff, how shall I describe thee? Thou compound of sense and vice: of sense which may be admired, but not esteemed; of vice which may be despised, but hardly detested. “Falstaff ” is a character loaded with faults, and with those faults which naturally produce contempt. He is a thief and a glutton, a coward and a boaster, always ready to cheat the weak and prey upon the poor, to terrify the timorous and insult the defenceless. At once obsequious and malignant—yet the man thus corrupt, thus despicable, makes himself necessary to the prince by perpetual gaiety, and by unfailing power of exciting laughter.—Dr. Johnson.

=Fanciful= (_Lady_), a vain, conceited beauty, who calls herself “nice, strangely nice,” and says she was formed “to make the whole creation uneasy.” She loves Heartfree, a railer against women, and when he proposes marriage to Belinda, a rival beauty, spreads a most impudent scandal, which, however, reflects only on herself. Heartfree, who at one time was partly in love with her, says to her:

“Nature made you handsome, gave you beauty to a miracle, a shape without a fault, wit enough to make them relish ... but art has made you become the pity of our sex, and the jest of your own. There’s not a feature in your face but you have found the way to teach it some affected convulsion. Your feet, your hands, your very finger-ends, are directed never to move without some ridiculous air, and your language is a suitable trumpet to draw people’s eyes upon the raree-show” (act ii. 1).—Vanbrugh, _The Provoked Wife_ (1697).

=Fan-Fan=, _alias_ =Phelin O’Tug=, “a lolly-pop maker, and manufacturer of maids of honor to the court.” This merry, shy, and blundering elf, concealed in a bear-skin, makes love to Christine, the faithful attendant on the Countess Marie. Phelin O’Tug says his mother was too bashful ever to let him know her, and his father always kept in the back-ground.—E. Stirling, _The Prisoner of State_ (1847).

=Fang=, a bullying, insolent magistrate, who would have sent Oliver Twist to prison, on suspicion of theft, if Mr. Brownlow had not interposed on the boy’s behalf.—C. Dickens, _Oliver Twist_ (1837).

The original of this ill-tempered, bullying magistrate was Mr. Laing, of Hatton Garden, removed from the bench by the home secretary.—John Foster, _Life of Dickens_, iii. 4.

=Fang and Snare=, two sheriff’s officers.—Shakespeare, _2 Henry IV_ (1598).

=Fanny= (_Robin_). Country girl seduced under promise of marriage by Sergeant Troy. She dies with her child and is buried by Troy’s betrothed, who learns after her marriage the tale of Fanny’s wrongs.—T. Hardy, _Far from the Madding Crowd_ (1874).

_Fanny_ (_Lord_). So John Lord Hervey was usually called by the wits of the time, in consequence of his effeminate habits. His appearance was that of a “half-wit, half-fool, half-man, half-beau.” He used rouge, drank ass’s milk, and took Scotch pills (1694-1743).

Consult Lord Fanny, and confide in Curll [_publisher_]. Byron, _English Bards and Scotch Reviewers_ (1809).

_Fanny_ (_Miss_), younger daughter of Mr. Sterling, a rich City merchant. She was clandestinely married to Lovewell. “Gentle-looking, soft-speaking, sweet-smiling, and affable,” wanting “nothing but a crook in her hand and a lamb under her arm to be a perfect picture of innocence and simplicity.” Every one loved her, and as her marriage was a secret, Sir John Melvil and Lord Ogleby both proposed to her. Her marriage with Lovewell being ultimately made known, her dilemma was removed.—Colman and Garrick, _The Clandestine Marriage_ (1766).

=Fan´teries= (3 _syl._), foot-soldiers, infantry.

Five other bandes of English fanteries. G. Gascoigne, 1535-1577, _The Fruites of Warre_ (1575)

=Fantine=. Parisian girl, deserted by her lover and left to support her child as best she can. Her heroic self-devotion is one of the most interesting episodes of _Les Miserables_, a romance by Victor Hugo.

=Faquir´=, a religious anchorite, whose life is spent in the severest austerities and mortification.

He diverted himself, however ... especially with the Brahmins, faquirs, and other enthusiasts who had travelled from the heart of India, and halted on their way with the emir.—W. Beckford, _Vathek_ (1786).

=Farçeur= (_The_), Angelo Beolco, the Italian farce-writer. Called _Ruzzante_ in Italian, from _ruzzare_, “to play the fool” (1502-1542).

=Farina´ta= [DEGLI UBERTI], a noble Florentine, leader of the Ghibeline faction, and driven from his country in 1250 by the Guelfs (1 _syl._). Some ten years later by the aid of Manfred of Naples, he beat the Guelfs, and took all the towns of Tuscany and Florence. Danté conversed with him in the city of Dis, and represents him as lying in a fiery tomb yet open, and not to be closed till the last judgment day. When the council agreed to raze Florence to the ground, Farinata opposed the measure, and saved the city. Dantê refers to this:

Lo! Farinata ... his brow Somewhat uplifted, cried ... “In that affray [i.e. _at Montaperto, near the river Arbia_] I stood not singly ... But singly there I stood, when by consent Of all, Florence had to the ground been razed,— The one who openly forbade the deed.” Dante, _Inferno_, x. (1300). Like Farinata from his fiery tomb. Longfellow, _Dante_.

=Farm-boy.=

“Over the hill the farm-boy goes, His shadow lengthens along the land, A giant staff in a giant hand. In the poplar tree above the spring The katydid begins to sing; The early dews are falling. * * * * * And home to the woodland fly the crows, While over the hill the farm-boy goes, Cheerily calling, ‘Co’ boss! co’ boss! co’! co’! co’!’” J.T. Trowbridge, _Evening at the Farm_ (1857).

=Farmer Finch=, girl who works her invalid father’s farm for him and makes it pay.—Sarah Orne Jewett, _Farmer Finch_.

=Farm-house= (_The_). Modely and Heartwell, two gentlemen of fashion, come into the country and receive hospitality from old Farmer Freehold. Here they make love to his daughter Aura and his niece Flora. The girls, being high-principled, convert the flirtation of the two guests into love, and Heartwell marries the niece, while Modely proposes to Aura, who accepts him, provided he will wait two months and remain constant to her.—John Philip Kemble.

=Farmer George=, George III.; so called because he was like a farmer in dress, manners, and tastes (1738-1820).

=Farmer’s Wife= (_The_), a musical drama by C. Dibdin (1780). Cornflower, a benevolent, high-minded farmer, having saved Emma Belton from the flames of a house on fire, married her, and they lived together in love and peace till Sir Charles Courtly took a fancy to Mrs. Cornflower, and abducted her. She was soon tracked, and as it was evident that she was no _particeps criminis_, she was restored to her husband, and Sir Charles gave his sister to Mrs. Cornflower’s brother in marriage as a peace-offering.

=Farnese Bull= [_Far.nay´.ze_], a colossal group of sculpture, attributed to Apollõnius and Tauriscus of Trallês, in Asia Minor. The group represents Dircê bound by Zethus and Amphi´on to the horns of a bull, for ill-using their mother. It was restored by Bianchi, in 1546, and placed in the Farnesê palace, in Italy.

=Farnese He´rcules= [_Far.nay´.ze_], a name given to Glykon’s copy of the famous statue by Lysippos (a Greek sculptor in the time of Alexander “the Great”). It represents Hercules leaning on his club, with one hand on his back. The Farnesê family became extinct in 1731.

=Fashion= (_Sir Brilliant_), a man of the world, who “dresses fashionably, lives fashionably, wins your money fashionably, loses his own fashionably, and does everything fashionably.” His fashionable asservations are, “Let me perish, if ...!” “May fortune eternally frown on me, if ...!” “May I never hold four by honors, if ...!” “May the first woman I meet strike me with a supercilious eyebrow, if ...!” and so on.—A. Murphy, _The Way to Keep Him_ (1760).

_Fashion_ (_Tom_), or “Young Fashion,” younger brother of Lord Foppington. As his elder brother did not behave well to him, Tom resolved to outwit him, and to this end introduced himself to Sir Tunbelly Clumsy and his daughter, Miss Hoyden, as Lord Foppington, between whom and the knight a negotiation of marriage had been carried on. Being established in the house, Tom married the heiress, and when the veritable lord appeared, he was treated as an impositor. Tom, however, explained his ruse, and as his lordship treated the knight with great contempt and quitted the house, a reconciliation was easily effected.—Sheridan, _A Trip to Scarborough_ (1777).

=Fashionable Lover= (_The_). Lord Abberville, a young man of 23 years of age, promises marriage to Lucinda Bridgemore, the vulgar, spiteful, purse-proud daughter of a London merchant, living in Fish Street Hill. At the house of this merchant Lord Abberville sees a Miss Aubrey, a handsome, modest, lady-like girl, with whom he is greatly smitten. He first tries to corrupt her, and then promises marriage; but Miss Aubrey is already engaged to a Mr. Tyrrel. The vulgarity and ill-nature of Lucinda being quite insurmountable, “the fashionable lover” abandons her, The chief object of the drama is to root out the prejudice which Englishmen at one time entertained against the Scotch, and the chief character is in reality Colin or Cawdie Macleod, a Scotch servant of Lord Abberville.—R. Cumberland (1780).

=Fastolfe= (_Sir John_), in _1 Henry VI_. This is not the “Sir John Falstaff” of huge proportions and facetious wit, but the Lieutenant-general of the duke of Bedford, and a knight of Garter.

Here had the conquest fully been sealed up If Sir John Fastolfe had not played the coward: He being in the vanward ... Cowardly fled, not having struck one stroke. Shakespeare, _1 Henry VI_. act i. sc. 1 (1589).

From this battell [_of Pataie, in France_] departed without anie stroke striken, Sir John Fastolfe.... The duke of Bedford tooke from him the image of St. George and his garter.—Holinshed, ii. 601.

=Fastra´da= or FASTRADE, daughter of Count Rudolph and Luitgarde. She was one of the nine wives of Charlemagne.

Those same soft bells at even-tide Rang in the ears of Charlemagne, As seated by Fastrada’s side, At Ingelheim, in all his pride, He heard their sound with secret pain. Longfellow, _Golden Legend_, vi.

=Fat= (_The_). Alfonso II. of Portugal (1185, 1212-1223). Charles II. (_le Gros_) of France (832-882). Louis VI. (_le Gros_) of France (1078, 1108-1137).

Edward Bright of Essex weighed 44 stone (616 lbs.) at death (1720-1750). David Lambert of Leicester weighed above 52 stone (739 lbs.) at death (1770-1809).

=Fata Alci´na=, sister of Fata Morga´na. She carried off Astolfo on the back of a whale to her isle, but turned him into a myrtle tree when she tired of him.—Bojardo, _Orlando Innamorato_ (1495); Ariosto, _Orlando Furioso_ (1516).

=Fata Ar´gea= (“_le reina della Fata_”), protectress Floridantê.

=Fata Falsire´na=, an enchantress in the _Adonê_ of Marini (1623).

=Fata della Fonti=, an enchantress, from whom Mandricardo obtained the arms of Hector.—Bojardo, _Orlando Innamorato_ (1495).

=Fata Morga´na=, sister of Arthur, and pupil of Merlin. She lived at the bottom of a lake, and dispensed her treasures to whom she willed. This fairy is introduced by Bojardo in his _Orlando Innamorato_, first as “Lady Fortune,” but subsequently as an enchantress. In Tasso her three daughters (Morganetta, Nivetta, and Carvilia) are introduced.

⁂ “Fata Morgana” is the name given to a sort of mirage occasionally seen in the Straits of Messi´na.

=Fata Nera and Fata Bianca=, protectresses of Guido´nê and Aquilantê.—Bojardo, _Orlando Innamorato_ (1495).

=Fata Silvanella=, an enchantress in _Orlando Innamorato_, by Bojardo (1495).

=Fatal Curiosity=, an epilogue in _Don Quixote_ (pt. I. iv. 5, 6). The subject of this tale is the trial of a wife’s fidelity. Anselmo, a Florentine gentleman, had married Camilla, and wishing to rejoice over her incorruptible fidelity, induced his friend Lothario to put it to the test. The lady was not trial-proof, but eloped with Lothario. The end was that Anselmo died of grief, Lothario was slain in battle, and Camilla died in a convent (1605).

_Fatal Curiosity_, by George Lillo. Young Wilmot, supposed to have perished at sea, goes to India, and having made his fortune, returns to England. He instantly visits Charlotte, whom he finds still faithful and devotedly attached to him, and then in disguise visits his parents, with whom he deposits a casket. Agnes Wilmot, out of curiosity, opens the casket, and when she discovers that it contains jewels, she and her husband resolve to murder the owner, and secure the contents of the casket. Scarcely have they committed the fatal deed, when Charlotte enters, and tells them it is their own son whom they have killed, whereupon old Wilmot first stabs his wife and then himself. Thus was the “curiosity” of Agnes fatal to herself, her husband, and her son (1736).

=Fatal Dowry= (_The_), a tragedy by Philip Massinger (1632). Rowe has borrowed much of his _Fair Penitent_ from this drama.

=Fatal Marriage= (_The_), a tragedy by Thomas Southern (1659-1746). Isabella, a nun, marries Biron, the eldest son of Count Baldwin. The count disinherits his son for this marriage, and Biron, entering the army, is sent to the siege of Candy, where he is seen to fall, and is reported dead. Isabella, reduced to the utmost poverty, after seven years of “widowhood,” prays Count Baldwin to do something for her child, but he turns her out of doors. Villeroy (2 _syl._) proposes marriage to her, and her acceptance of him was “the fatal marriage,” for the very next day Biron returns and is set upon by ruffians in the pay of his brother Carlos, who assassinate him. Carlos accuses Villeroy of the murder, but one of the ruffians confesses, and Carlos is apprehended. As for Isabella, she stabs herself and dies.

=Fat Boy= (_Jo._). Obese page, or foot-boy of Mr. Wardell in _Pickwick Papers_.—Charles Dickens.

=Fates.= _The three Fatal Sisters_ were Clo´tho, Lachesis [_Lak´.e.sis_]. and At´ropos. They dwelt in the deep abyss of Demogorgon, “with unwearied fingers drawing out the threads of life.” Clotho held the spindle or distaff; Lachesis drew out the thread; and Atropos cut it off.

Sad Clotho held the rock, the whiles the thread By grisly Lachesis was spun with pain, That cruel Atropos eftsoon undid, With cursëd knife cutting the twist in twain. Spenser, _Faëry Queen_, iv. 2. (1595).

=Father—Son.= It is a common observation that a father above the common rate of men has usually a son below it. Witness King John son of Henry II.; Edward II. son of Edward I.; Richard II. son of the Black Prince; Henry VI. son of Henry V.; Lord Chesterfield’s son, etc. So in French history: Louis VIII. was the son of Philippe _Auguste_; Charles _the Idiot_ was the son of Charles _le Sage_; Henri II. of François I. Again, in German history: Heinrich VI. was the son of Barbarossa; Albrecht I. of Rudolf; and so on, in all directions. _Heroum filii noxæ_ is a Latin proverb.

My trust, Like a good parent, did beget of him A falsehood, in its contrary as great As my trust was. Shakespeare, _The Tempest_, act i. sc. 2 (1609).

=Father Suckled by His own Daughter.= Euphrasia, called “The Grecian Daughter,” thus preserved the life of her father Evander in prison. (SEE EUPHRASIA.)

Xantippê thus preserved the life of her father Cimonos in prison.

=A Father’s Head Nursed by a Daughter after Death.= Margaret Roper “clasped in her last trance her murdered father’s head.” (SEE DAUGHTER.)

=Father of His Country.=

CICERO, who broke up the Catiline conspiracy (B.C. 106-43).

⁂ The Romans offered the same title to Marĭus after his annihilation of the Teutŏnês and Cimbri, but he would not accept it.

JULIUS CÆSAR, after he had quelled the Spanish insurrection (B.C. 100-44). AUGUSTUS, _P_ (B.C. 63-31 to A.D. 14).

COSMO DE MEDICI (1389-1464).

ANDREA DOREA; called so on his statue at Genoa (1468-1560).

ANDRONI´CUS PALÆOL´OGUS assumed the title (1260-1332).

GEORGE WASHINGTON, “Defender and Paternal Counseller of the American States” (1732-1799).

=Father of the People=.

LOUIS XII. of France (1462, 1498-1515).

HENRI IV. of France, “The Father and Friend of the People” (1553, 1589-1610).

LOUIS XVIII. of France (1755, 1814-1824).

GABRIEL DU PINEAU, a French lawyer, (1573-1644).

CHRISTIAN III. of Denmark (1502, 1534-1559).

⁂ For other “Fathers,” see under the specific name or vocation, as BOTANY, LITERATURE, and so on.

=Fathers= (_Last of the_), St. Bernard (1091-1153).

⁂ The “Fathers of the Church” were followed by “the Schoolmen.”

=Fatherless=. Merlin never had a father; his mother was a nun, the daughter of the king of Dimetia.

=Fathom= (_Ferdinand Count_), a villain who robs his benefactors, pillages any one, and finally dies in misery and despair.—T. Smollett, _The Adventures of Ferdinand Count Fathom_ (1754).

(The gang being absent, an old beldame conveys the count to a rude apartment to sleep in. Here he found the dead body of a man lately stabbed and concealed in some straw; and the account of his sensations during the night, the horrid device by which he saved his life (by lifting the corpse into his own bed), and his escape, guided by the hag, is terrifically tragic).

=Fatima=, daughter of Mahomet, and one of the four perfect women. The other three are Khadîjah, the prophet’s first wife; Mary, daughter of Imrân; and Asia, wife of that Pharaoh who was drowned in the Red Sea.

_Fat´ima_, a holy woman of China, who lived a hermit’s life. There was “no one affected with headache whom she did not cure by simply laying her hands on them.” An African magician induced this devotee to lend him her clothes and stick, and to make him the fac-simile of herself. He then murdered her, and got introduced into the palace of Aladdin. Aladdin, being informed of the trick, pretended to have a bad headache, and when the false Fatima approached, under the pretence of curing it, he plunged a dagger into the heart of the magician and killed him.—_Arabian Nights_ (“Aladdin or the Wonderful Lamp”).

_Fat´ima_, the mother of Prince Camaral´zaman. Her husband was Schah´zaman, Sultan of the “Isle of the Children of Khal´edan, some twenty days’ sail from the coast of Persia, in the open sea.”—_Arabian Nights_ (“Camaralzaman and Badoura”).

_Fat´ima_, the last of Bluebeard´s wives. She was saved from death by the timely arrival of her brothers with a party of friends.—C. Perrault, _Contes de Fées_ (1697).

=Fat´imite= (3 _syl._). _The Third Fatimite_, the Caliph Hakem B’amr-ellah, who professed to be incarnate deity, and the last prophet who had communication between God and man. He was the founder of the Druses (_q.v._).

What say you does this wizard style himself— Hakeem Biamrallah, the Third Fatimite? Robt. Browning, _The Return of the Druses_, v.

=Fatme=. Beautiful sultana, who, looking down from her lattice into the courtyard wept to see a lamb slaughtered, yet turned from the window to ask in eager hope if the poison administered to her rival had produced the desired effect.—_Heine_.

=Faulconbridge= (_Philip_), called “the Bastard,” natural son of King Richard I. and Lady Robert Faulconbridge. An admirable admixture of greatness and levity, daring and recklessness. He was generous and open-hearted, but hated foreigners like a true-born islander.—Shakespeare, _King John_ (1596).

=Faulkland=, the over-anxious lover of Julia [_Melville_], always fretting and tormenting himself about her whims, spirit, health, life. Every feature in the sky, every shift of the wind was a source of anxiety to him. If she was gay, he fretted that she should care so little for his absence; if she was low-spirited, he feared she was going to die; if she danced with another, he was jealous; if she didn´t, she was out of sorts.—Sheridan, _The Rivals_ (1775).

=Faultless Painter= (_The_), Andrea del Sarto (1488-1630).—R. Browning, _Andrea del Sarto_.

=Fauntleroy= (_Little Lord_). The story of Cedric Errol, heir to his grandfather, Lord Fauntleroy, by Frances Hodgson Burnett, has been dramatized, Elsie Leslie, a child of rare promise, taking the part of Cedric, and Kathryn Kidder that of his mother. (See ERROL).

=Faun=. Tennyson uses this sylvan deity of the classics as the symbol of a drunkard.

Arise and fly The reeling Faun, the sensual feast. _In Memoriam_, cxviii

=Faust=, a famous magician of the sixteenth century, a native of Suabia. A rich uncle having left him a fortune, Faust ran to every excess, and when his fortune was exhausted, made a pact with the devil (who assumed the name of Mephistoph´elês, and the appearance of a little grey monk) that if he might indulge his propensities freely for twenty-four years, he would at the end of that period consign to the devil both body and soul. The compact terminated in 1550, when Faust disappeared. His sweetheart was Margheri´ta [_Margaret_], whom he seduced, and his faithful servant was Wagner.

Goethê has a noble tragedy entitled _Faust_ (1798); Gounod an opera called _Faust e Margherita_ (1859) (See FAUSTUS.)

=Faustus= (_Dr._), the same as Faust; but Marlowe, in his admirable tragedy, makes the doctor sell himself to Lucifer and Mephistophilis.

=Favor= (_Anna_). Young Anna Favor, married to Ezra Dalton, conceives the insane idea that her baby is a changeling, and asks her husband to rake open the coals that she may lay it upon them, and the witch shall have her own.

“She’ll come when she hears it crying, In the shape of an owl or bat, And she’ll bring us our darling Anna In place of her screeching brat.”

The delusion is removed and her senses restored in answer to the prayer of her husband.

“Now, mount and ride, my goodman, As thou lovest thy own soul! Woe’s me if my wicked fancies Be the death of Goodwife Cole!” J.G. Whittier, _The Changeling_.

W. Bayle Bernard, of Boston, Mass., has a tragedy on the same subject.

=Favori´ta= (_La_), Leonora de Guzman, “favorite” of Alfonzo XI. of Castile. Ferdinando fell in love with her; and the king, to save himself from excommunication, sanctioned the marriage. But when Ferdinando learned that Leonora was the king’s mistress, he rejected the alliance with indignation, and became a monk. Leonora also became a novice in the same monastery, saw Ferdinando, obtained his forgiveness, and died.—Donizetti, _La Favorita_ (an opera, 1842).

=Faw= (_Tibbie_), the ostler’s wife, in Wandering Willie’s tale.—Sir W. Scott, _Redgauntlet_ (time, George III.).

=Faw´nia=, the lady beloved by Dorastus.—R. Greene, _Pandosto, The Triumph of Time_ (1588).

⁂ Shakespeare founded his _Winter’s Tale_ on Greene’s romance.

=Fazio=, a Florentine, who first tried to make a fortune by alchemy, but being present when Bartoldo died, he buried the body secretly, and stole the miser’s money-bags. Being now rich he passed his time with the Marchioness Aldabella in licentious pleasure, and his wife Bianca, out of jealousy, accused him to the duke of being privy to Bartoldo’s death. For this offence Fazio was condemned to die; and Bianca, having tried in vain to save him, went mad with grief, and died of a broken heart.—Dean Milman, _Fazio_ (1815).

=Fea= (_Euphane_), the old house-keeper of the old udaller at Burgh-Westra. (A “udaller” is one who holds land by allodial tenure.)—Sir W. Scott, _The Pirate_ (time, William III.).

=Fear Fortress=, near Saragossa. An allegorical bogie fort, conjured up by fear, which vanishes as it is courageously approached and boldly besieged.

If a child disappeared, or any cattle were carried off, the frightened peasants said: “The Lord of Fear Fortress has taken them.” If a fire broke out anywhere, it was the Lord of Fear Fortress who must have lit it. The origin of all accidents, mishaps, and disasters, was traced to the mysterious owner of this invisible castle.—L’Epine, _Croquemitaine_, iii. 1.

=Fearless= (_The_), Jean duc de Bourgoigne, called _Sans Peur_ (1371-1419).

=Featherhead= (_John_), Esq., an opponent of Sir Thomas Kittlecourt, M.P.—Sir W. Scott, _Guy Mannering_ (time, George II.).

=Fedalina=. Daughter of the gypsy chief and heroine of _The Spanish Gypsy_, by George Eliot.

=Fee= and =Fairy=. Fee is the more general term, including the latter. _The Arabian Nights_ are not all fairy tales, but they are all fee tales or _contes des fées_. So again, the Ossianic tales, Campbell’s _Tales of the West Highlands_, the mythological tales of the Basques, Irish, Scandinavians, Germans, French, etc., may all be ranged under fee tales.

=Feeble= (_Francis_), a woman’s tailor, and one of the recruits of Sir John Falstaff. Although a thin, starveling yard-wand of a man, he expresses great willingness to be drawn. Sir John compliments him as “courageous Feeble,” and says to him, “Thou wilt be as valiant as the wrathful dove, or most magnanimous mouse.... most forcible Feeble.”—Shakespeare, _2 Henry IV_. act iii. sc. 2 (1598).

=Feeder= (_Mr._), B.A., usher in the school of Dr. Blimber of Brighton. He was “a kind of human barrel-organ, which played only one tune.” He was in the habit of shaving his head to keep it cool. Mr. Feeder married Miss Blimber, the doctor’s daughter, and succeeded to the school.—C. Dickens, _Dombey and Son_ (1846).

=Feenix=, nephew of the Hon. Mrs. Skewton (mother of Edith, Mr. Dombey’s second wife), Feenix was a very old gentleman, patched up to look as much like a young fop as possible.

Cousin Feenix was a man about town forty years ago; but he is still so juvenile in figure and manner that strangers are amazed when they discover latent wrinkles in his lordship’s face, and crow’s feet in his eyes. But cousin Feenix getting up at half-past seven, is quite another thing from cousin Feenix got up.—C. Dickens, _Dombey and Son_, xxxi. (1846).

=Feignwell= (_Colonel_) the suitor of Anne Lovely, an heiress. Anne Lovely had to obtain the consent of her four guardians before she could marry. One was an old beau, another a virtuoso, a third a broker on ’Change, and the fourth a canting quaker. The colonel made himself agreeable to all, and carried off his prize.—Mrs. Centlivre, _A Bold Stroke for a Wife_ (1717).

=Feinai´gle= (_Gregory de_), a German mnemonist (1765-1820). He obtained some success by his aids to memory, but in Paris he was an object of ridicule.

Her memory was a mine ... For her Feinaigle’s was a useless art Byron, _Don Juan_, i. 11 (1819).

=Felice=, wife of Sir Guy Warwick, said to have “the same high forehead as Venus.”

=Felic´ian= (_Father_), a catholic priest and schoolmaster of Grand Pré, in Acadia (now called _Nova Scotia_). He accompanied Evangeline in part of her wanderings to find Gabriel, her affianced husband.—Longfellow, _Evangeline_ (1849).

=Felicians= (_The_), the happy nation. The Felicians live under a free sovereignty, where the laws are absolute. Felicia is the French “Utopia.”—Mercier de la Rivière, _L’Heureuse Nation_ (1767).

=Feliciano de Sylva=, Don Quixote’s favorite author. The two following extracts were, in his opinion, unsurpassed and unsurpassable:—

The reason, most adored one, of your unreasonable unreasonableness hath so unreasonably unseated my reason, that I have no reasonable reason for reasoning against such unreasonableness.

The bright heaven of your divinity that lifts you to the stars, most celestial of women, renders you deserving of every desert which your charms so deservedly deserve.—Cervantes, _Don Quixote_, I. i. 8 (1605).

=Félicie=, happy French girl, the daughter of Jean and Gabrielle Waldo. Her mother gives her poison by mistake, from the effects of which she is relieved by John of Lugio, summoned from his home many leagues away, “IN HIS NAME.”—Edward Everett Hale, _In His Name_ (1887).

=Felix=, a monk who listened to the singing of a milk-white bird for a hundred years; which length of time seemed to him “but a single hour,” so enchanted was he with the song.—Longfellow, _The Golden Legend_. (See also _Hildesheim_.)

_Felix_ (_Don_), son of Don Lopez. He was a Portuguese nobleman, in love with Violante; but Violante’s father, Don Pedro, intended to make her a nun. Donna Isabella, having fled from home to avoid a marriage disagreeable to her, took refuge with Violante; and when Colonel Briton called at the house to see Donna Isabella, her brother Don Felix was jealous, believing that Violante was the object of his visits. Violante kept “her friend’s secret,” even at the risk of losing her lover; but ultimately the mystery was cleared up, and a double marriage took place.—Mrs. Centlivre, _The Wonder_ (1714).

_Felix Holt_ (See Holt).

_Felix_ (_M. Minucius_), a Roman lawyer, who flourished A.D. 230; he wrote a dialogue entitled _Octavius_, which occupies a conspicuous place among the early Apologies of Christianity.

Like Menucius Felix, she believed that evil demons hid themselves in the marbles [_statues_].—Ouida, _Ariadnê_, i. 9.

_Felix_ (_St._), of Burgundy, who converted Sigbert (Sigebert or Sabert) king of the East Saxons, (A.D. 604).—Ethelwerd, _Chronicles_, v.

So Burgundy to us three men most reverend bare ... Of which way Felix first, who in th’ East Saxon reign Converted to the faith King Sigbert. Him again Ensueth Anselm ... and Hugh ... [_bishop of Lincoln_]. Drayton _Polyolbion_, xxiv. (1622).

=Fe´lixmar´te= (4 _syl._) of Hyrcania, son of Flo´risan and Martedi´na, the hero of a Spanish romance of chivalry. The curate in _Don Quixote_ condemned this work to the flames.—Melchior de Orteza, _Caballera de Ubĕda_ (1566).

=Felix= (_Varian_). The Adonis of his circle, who falls in love with a beautiful woman, already the wife of another man. He flies from temptation and does not return until she is the other man’s widow; then woos and weds her.—Miriam Coles Harris, _A Perfect Adonis_ (1875).

=Fell= (_Dr._). Tom Brown, being in disgrace, was sent by Dr. Fell, dean of Christ Church (1625-1686), to translate the thirty-third epigram of Martial.

Non amo te, Zabidi, nec possum dicere quare; Hoc tantum possum dicere, non amo te.

Which he rendered thus:

I do not like thee, Dr. Fell— The reason why I cannot tell; But this I know, and know full well, I do not like thee, Dr. Fell.

=Feltham= (_Black_), a highwayman with Captain Colepepper or Peppercull (the Alsatian bully).—Sir W. Scott, _Fortunes of Nigel_ (time, James I.).

=Femmes Savantes= (_Les_), women who go in for women’s rights, science, and philosophy, to the neglect of domestic duties and wifely amenities. The “blue-stockings” are (1) Philaminte (3 _syl._) the mother of Henriette, who discharges one of her servants because she speaks ungrammatically; (2) Armande (2 _syl._) sister of Henriette, who advocates platonic love and science; and (3) Bélise, sister of Philaminte, who sides with her in all things, but imagines that every one is in love with her. Henriette, who has no sympathy with these “lofty flights,” is in love with Clitandre, but Philaminte wants her to marry Trissotin, a _bel esprit_. However, the father loses his property through the “savant” proclivities of his wife, Trissotin retires, and Clitandre marries Henriette, the “perfect” or thorough woman.—Moliere, _Les Femmes Savantes_ (1672).

=Fenella=, _alias_ Zarah (daughter of Edward Christian), a pretended deaf and dumb fairy-like attendant on the countess of Derby. The character seems to have been suggested by that of Mignon, the Italian girl in Goethê’s _Wilhelm Meister’s Apprenticeship._—Sir W. Scott, _Peveril of the Peak_ (time, Charles II.).

Let be _tableaux vivants_, and I will appear as “Fenella.” Percy Fitzgerald, _Parvenu Family_, iii. 224.

_Fenella_, a deaf and dumb girl, sister of Masaniello the fisherman. She was seduced by Alfonso, son of the Duke of Arcos; and Masaniello resolved to kill him. He accordingly headed an insurrection, and met with such great success that the mob made him chief magistrate of Portici, but afterwards shot him. Fenella, on hearing of her brother’s death, threw herself into the crater of Vesuvius.—Auber, _Masaniello_ (an opera, 1831).

=Fenris=, the demon wolf of Niflheim. When he gapes one jaw touches the earth and the other heaven. This monster will swallow up Odin at the day of doom. (Often but incorrectly written FENRIR.)—_Scandinavian Mythology_.

=Fenton=, clever fellow who makes caricatures while Browning is read, and when called upon for the substance of his notes by the president of the Club, rises with perfect coolness and pronounces opinion upon the poem.—Arlo Bates, _The Philistines_ (1889).

_Fenton_, the lover of Anne Page, daughter of Mr. and Mrs. Page, gentle-folks living at Windsor. Fenton is of good birth, and seeks to marry a fortune to “heal his poverty.” In “sweet Anne Page” he soon discovers that which makes him love her for herself more than for her money.—Shakespeare, _Merry Wives of Windsor_, act iii, sc. 4 (1601).

=Ferad-Artho,= son of Cairbre and only surviving descendant of the line of Conar (the first king of Ireland.) On the death of Cathmor (brother of the rebel Cairbar) in battle, Ferad-Artho was placed by Fingal on the throne as “king of Ireland.” The race was thus: (1) Conar (a Caledonian); (2) Cormac I., his son; (3) Cairbre, his son; (4) Artho, his son; (5) Cormac II., his son, (a minor); (6) Ferad-Artho, his cousin.—Ossian, _Temora_, vii.

=Fer´amorz,= the young Cashmerian poet who relates poetical tales to Lalla Rookh on her journey from Delhi to Lesser Bucharĭa. Lalla is going to be married to the young sultan, but falls in love with the poet. On the wedding morn she is led to her bridegroom, and finds with unspeakable joy that the poet is the sultan himself.—T. Moore, _Lalla Rookh_ (1817).

=Ferda=, son of Damman, chief of a hundred hills in Albion. Ferda was the friend of Cuthullin, general of the Irish forces in the time of king Cormac I. Deuga´la (spouse of Cairbar) loved the youth, and told her husband if he would not divide the herd she would no longer live with him. Cuthullin, being appointed to make the division, enraged the lady by assigning a snow-white bull to the husband, whereupon Duegala induced her lover to challenge Cuthullin to mortal combat. Most unwillingly the two friends fought, and Ferda fell. “The sunbeam of battle fell—the first of Cuthullin’s friends. Unhappy [_unlucky_] is the hand of Cuthullin since the hero fell.”—Ossian, _Fingal_, ii.

=Ferdinand=, king of Navarre. He agreed with three young lords to spend three years in severe study, during which time no woman was to approach his court; but no sooner was the agreement made than he fell in love with the princess of France. In consequence of the death of her father, the lady deferred the marriage for twelve months and a day.

... the sole inheritor Of all perfections that a man may owe [_own_] Matchless Navarre. Shakespeare, _Love’s Labor’s Lost_ (1594).

_Fer´dinand,_ son of Alonso, king of Naples. He falls in love with Miranda, daughter of Prospero, the exiled duke of Milan.—Shakespeare, _The Tempest_ (1609).

Haply so Miranda’s hope had pictured Ferdinand Long ere the gaunt wave tossed him on the shore. Lowell.

_Ferdinand_, a fiery young Spaniard, in love with Leonora.—Jephson, _Two Strings to your Bow_ (1792).

_Ferdinand_ (_Don_), the son of Don Jerome of Seville, in love with Clara d’Almanza, daughter of Don Guzman.—Sheridan, _The Duenna_ (1773).

=Ferdinan´do,= a brave soldier who having won the battle of Tari´fa, in 1340, was created Count of Zamo´ra and Marquis of Montreal. The king, Alfonso XI., knowing his love for Leonora de Guzman, gave him the bride in marriage; but no sooner was this done than Ferdinando discovered that she was the king’s mistress, so he at once repudiated her, restored his ranks and honors to the king, and retired to the monastry of St. James de Compostella. Leonora entered the same monastery as a novice, obtained the pardon of Ferdinando, and died.—Donizetti, _La Favori´ta_ (1842).

=Fergus= (_Derrick_). Engineer in the coalpits of Lancashire. “A young son of Anak, brains and muscle evenly balanced and fully developed.” Is interested in Joan Lowrie and at last wins her to a promise “to work an’ strive to make herself worthy of the man she loves.”—Frances Hodgson Burnett, _That Lass of Lowrie’s_ (1877).

_Fergus_, fourth son of Fingal, and the only one that had issue at the death of his father. Ossian, the eldest brother, had a son named Oscar, but Oscar was slain at a feast by Cairbar “Lord of Atha;” and of the other two brothers, Fillan was slain before he had married, and Ryno, though married, died without issue.

According to tradition, Fergus (son of Fingal) was the father of Congal; Congal of Arcath; and Arcath of Fergus II., with whom begins the real history of the Scots.—Ossian.

_Fergus_, son of Rossa, a brave hero in the army of Cuthullin, general of the Irish tribes.

Fergus first in our joy at the feast; son of Rossa; arm of death.—Ossian, _Fingal_, i.

=Fern= (_Fanny_) the pseudonym of Sarah Payson Willis, sister of N.P. Willis. She married James Parton, the author. (1811-1872).

_Fern_ (_Will_), a poor fellow who, being found asleep in a shed, is brought before Alderman Cute. He says emphatically “he must be put down.” The poor fellow takes charge of his brother’s child, and is both honest and kind, but, alas! he dared to fall asleep in a shed, an offence which must be “put down.”— C. Dickens, _The Chimes_, third quarter (1844).

=Fernan Calbal´lero,= the pseudonym of Cecilia Böhl de Faber, a Spanish novelist (1797-1877).

=Fernando=, son of John of Procĭda, and husband of Isoline (3 _syl._), daughter of the French governor of Messina. The butchery of the Sicilian Vespers occurred the night after their espousals. Fernando was among the slain, and Isoline died of a broken heart.—S. Knowles, _John of Procida_ (1840).

_Fernando_ (_Don_), youngest son of the Duke Ricardo. Gay, handsome, generous, and polite; but faithless to his friend Cardenio, for, contrary to the lady’s inclination, and in violation of every principle of honor, he prevailed on Lucinda’s father to break off the betrothal between his daughter and Cardenio, and to bestow the lady on himself. On the wedding day Lucinda was in a swoon, and a letter informed the bridegroom that she was married already to Cardenio; she then left the house privately, and retired to a convent. Don Fernando, having entered the convent, carries her off, but stopping at an inn, found there Dorothea his wife, with Cardenio the husband of Lucinda, and the two parties paired off with their respective spouses.—Cervantes, _Don Quixote_, I. iv. (1605).

_Fernan´do,_ a Venetian captain, servant to Annophel (daughter of the governor of Candy).—Beaumont and Fletcher, _The Laws of Candy_ (1647).

_Fernan´do_ [FLORESTAN], a State prisoner of Seville, married to Leonora, who (in boy’s attire and under the name of Fidēlio) became the servant of Rocco the jailer. Pizarro, governor of the jail, conceived a hatred to the State prisoner, and resolved to murder him, so Rocco and Leonora were sent to dig his grave. The arrival of the minister of State put an end to the infamous design, and Fernando was set at liberty.—Beethoven, _Fidelio_ (1791).

=Ferney= (_The Patriarch of_), Voltaire; so called because he lived in retirement at Ferney, near Geneva (1694-1778).

=Ferquhard Day=, the absentee from the Clan Chattan at the combat.—Sir W. Scott, _Fair Maid of Perth_ (time, Henry IV.).

=Fer´racute,= a giant who had the strength of forty men, and was thirty-six feet high. He was slain by Orlando, who wounded him in the navel, his only vulnerable part.—Turpin, _Chronicle of Charlemagne_.

⁂ Ferracute is the prototype of Pulci’s “Morgante,” in his serio-comic poem entitled _Morgante Maggiore_ (1494).

=Fer´ragus=, the Portuguese giant, who took Bellisant under his care after her divorce from Alexander, emperor of Constantinople.—_Valentine and Orson_ (fifteenth century).

My sire’s tall form might grace the part Of Ferragus or Ascapart. Sir W. Scott.

=Fer´ramond= (_Sir_), a knight, whose lady-love was Lucĭda.

=Ferrand de Vaudemont= (_Count_), duc de Lorraine, son of René, king of Provence. He first appears disguised as Laurence Neipperg.—Sir W. Scott, _Anne of Geierstein_ (time, Edward IV.).

=Ferrardo= [GONZAGA], reigning duke of Mantua in the absence of his cousin Leonardo. He was a villain, and tried to prove Mariana (the bride of Leonardo) guilty of adultery. His scheme was this: He made Julian St. Pierre drunk with drugged wine, and in his sleep conveyed him to the duke’s bed, throwing his scarf under the bed of the duchess, which was in an adjoining chamber. He then revealed these proofs of guilt to his cousin Leonardo, but Leonardo refused to believe in his wife’s guilt, and Julian St. Pierre exposed the whole scheme of villainy, amply vindicating the innocence of Mariana, who turned out to be Julian’s sister.—S. Knowles, _The Wife_ (1833).

=Ferrau=, a Saracen, son of Landfu´sa. Having dropped his helmet in a river, he vowed never to wear another till he won that worn by Orlando. Orlando slew him by a wound in the navel, his only vulnerable part.—Ariosto, _Orlando Furioso_ (1516).

=Ferraugh= (_Sir_), introduced in bk. iii. 8, but without a name, as carrying off the false Florimel from Braggadoccio. In bk. iv. 2, the name is given. He is there overthrown by Sir Blandamour, who takes away with him the false Florimel, the lady of snow and wax.—Spenser, _Faëry Queen_ (1590, 1596).

=Ferret=, an avaricious, mean-spirited slanderer, who blasts by innuendoes, and blights by hints and cautions. He hates young Heartall, and misinterprets all his generous acts, attributing his benevolence to hush-money. The rascal is at last found out and foiled.—Cherry, _The Soldier’s Daughter_ (1804).

=Ferrex=, eldest son of Gorboduc, a legendary king of Britain. Being driven by his brother Porrex from the kingdom, he returned with a large army, but was defeated and slain by Porrex.—_Gorboduc_, a tragedy by Thom. Norton and Thom. Sackville (1561).

=Ferris= (_Henry_). Artist and American consul at Venice. In love with Florida Vervain, but believes her infatuated by an Italian priest who longs to leave his vocation. He learns the truth at the priest’s death-bed. Finds Florida in New York, explains, receives absolution and is married.—W.D. Howells, _A Foregone Conclusion_ (1874).

=Ferrol=. Northern man of letters who makes “a study” of Louisiana and Louisiana’s father. The honest planter surveys him with curiosity as “‘a littery man. I had an idee that thar was only one on ye now an’ ag’in—jest now an’ ag’in.’ Ferrol did not smile at all. His manner was perfect—so full of interest that Mr. Rogers quite warmed and expanded under it.”—Frances Hodgson Burnett, _Louisiana_ (1880).

=Fetnab= (“_a tormentor of hearts_”), the favorite of the Caliph Haroun-al-Raschid. While the caliph was absent in his wars, Zobeidê (3 _syl._), the caliph’s wife, out of jealousy, ordered Fetnab to be buried alive. Ganem happened accidentally to see the interment, rescued her, and took her home to his own private lodgings in Bagdad. The caliph, on his return, mourned for Fetnab; but receiving from her a letter of explanation, he became jealous of Ganem, and ordered him to be put to death. Ganem, however, contrived to escape. When the fit of jealousy was over, the caliph heard the facts plainly stated, whereupon he released Fetnab, and gave her in marriage to Ganem, and appointed the young man to a very lucrative post about the court.—_Arabian Nights_, (“Ganem, the slave of Love”).

=Fe´zon,= daughter of Savary, duke of Aquitaine. The Green Knight, who was a pagan, demanded her in marriage, but Orson (brother of Valentine), called “The Wild Man of the Forest,” overthrew the pagan and married Fezon.—_Valentine and Orson_ (fifteenth century).

=Fiammetta,= a lady beloved by Boccaccio, supposed to be Maria, daughter of Robert, king of Naples. (Italian, fiammetta, a little flame).

=Fib,= an attendant on Queen Mab.—Drayton, _Nymphidia_.

=Fiction.= _Father of Modern Prose Fiction_, Daniel Defoe (1663-1731).

=Fiddler= (_Oliver’s_). Sir Roger l’Estrange was so called, because at one time he was playing a fiddle or viole in the house of John Hingston, where Cromwell was one of the guests (1616-1704).

=Fiddler Joss,= Mr. Joseph Poole, a reformed drunkard, who subsequently turned preacher in London, but retained his former sobriquet.

=Fide´le= (3 _syl._), the name assumed by Imogen, when, attired in boy’s clothes, she started for Milford Haven to meet her husband Posthŭmus.—Shakespeare, _Cymbeline_ (1605).

⁂ Collins has a beautiful elegy on “Fidele.”

=Fidelia,= “the foundling.” She is in reality Harriet, the daughter of Sir Charles Raymond, but her mother dying in childbirth, she was committed to the charge of a governante. The governante sold the child, at the age of 12, to one Villiard, and then wrote to Sir Charles to say that she was dead. One night, Charles Belmont, passing by, heard cries of distress, and going to the rescue took the girl home as a companion to his sister. He fell in love with her: the governante, on her death-bed, told the story of her birth; and Charles married the foundling.—Ed. Moore, _The Foundling_ (1748).

=Fide´lio,= Leono´ra, wife of Fernando Florestan. She assumed the name of Fidelio, and dressed in male attire when her husband was a state prisoner, that she might enter the service of Rocco the jailer, and hold intercourse with her husband.—Beethoven, _Fidelio_ (1791).

=Fides= (2 _syl._), mother of John of Leyden. Believing that the prophet-ruler of Westphalia had caused her son’s death, she went to Munster to curse him. Seeing the ruler pass, she recognized in him her own son; but the son pretended not to know his mother, and Fidês, to save him annoyance, professed to have made a mistake. She was put into a dungeon, where John visited her, and when he set fire to his palace, Fidês rushed into the flames, and both perished together.—Meyerbeer, _Le Prophete_ (1849).

=Fidessa,= the companion of Sansfoy; but when the Red Cross Knight slew that “faithless Saracen,” Fidessa told him she was the only daughter of an emperor of Italy; that she was betrothed to a rich and wise king; and that her betrothed being slain, she had set forth to find the body, in order that she might decently inter it. She said that in her wanderings Sansfoy had met her and compelled her to be his companion: but she thanked the knight for having come to her rescue. The Red Cross Knight, wholly deluded by this plausible tale, assured Fidessa of his sympathy and protection: but she turned out to be Duessa, the daughter of Falsehood and Shame. The sequel must be sought under the word DUESSA.—Spenser, _Faëry Queen_, i. 2 (1590).

=Fido,= Faith personified, the foster-son of Acŏë (“hearing,” _Rom._ x. 17); his foster-sister is Meditation. Fully described in canto ix. of _The Purple Island_ (1633), by Phineas Fletcher. (Latin, _fidês_, “faith.”)

=Field of the Forty Footsteps,= at the back of the British Museum, once called Southampton Fields. The tradition is that two brothers, in the Monmouth rebellion, took different sides, and engaged each other in fight. Both were killed, and forty impressions of their feet were traceable in the field for years afterwards.

⁂ The Misses Porter wrote a novel called _The Field of the Forty Footsteps_, and the Messrs. Mayhew took the same subject for a melodrama.

=Fielding= (_Mrs._), a little querulous old lady with a peevish face, who, in consequence of having once been better off, or of laboring under the impression that she might have been, if something in the indigo trade had happened differently, was very genteel and patronizing indeed. When she dressed for a party, she wore gloves, and a cap of state “almost as tall, and quite as stiff as a mitre.”

_May Fielding_, her daughter, very pretty and innocent. She was engaged to Edward Plummer, but heard that he had died in South America, and consented to marry Tackleton the toy merchant. A few days before the day fixed for the wedding, Edward Plummer returned, and they were married. Tackleton gave them as a present the cake he had ordered for his own wedding feast.—C. Dickens, _The Cricket on the Hearth_ (1845).

=Fielding of the Drama,= George Farquhar, author of _The Beaux’ Stratagem_, etc. (1678-1707).

=Fielding’s Proverbs.= These were in reality compiled by W. Henry Ireland, the Shakespeare impostor, who published _Miscellaneous Papers and Instruments, under the hand and seal of William Shakespeare, including the tragedy of King Lear and a small fragment of Hamlet, from the original_, 1796, folio, £4 4_s_. The whole was a barefaced forgery.

=Fierabras= (_Sir_) [_Fe.ā´.ra.brah_], a Saracen of Spain, who made himself master of Rome, and carried away the crown of thorns and the balsam with which the Lord had been embalmed. His chief exploit was to slay the giant who guarded the bridge of Mantible, which had thirty arches, all of black marble. Bal´and of Spain assumed the name of Sir Fierabras.

_Balsam of Fierabras_, the balsam used in embalming the body of Christ, stolen by Sir Fierabras. It possessed such virtues that one single drop, taken internally, sufficed to heal the most malignant wound.

=Fierabras of Alexandria,= the greatest giant that ever walked the earth. He possessed all Babylon, even to the Red Sea, was seigneur of Russia, lord of Cologne, master of Jerusalem, and of the Holy Sepulchre. This huge giant ended his days in the odor of sanctity, “meek as a lamb, and humble as he was meek.”

=Fierce= (_The_), Alexander I. of Scotland, so called from the impetuosity of his temper (*, 1107-1124).

=Fiesco,= the chief character of Schiller’s tragedy so called. The poet makes Fiesco to be killed by the hand of Verri´na the republican; but history says his death was the result of a stumble from a plank (1783).

=Fig´aro=, a barber of extraordinary cunning, dexterity, and intrigue.—Beaumarchais, _Barbier de Séville_ (1775).

_Fig´aro_, a valet, who outwits every one by his dexterity and cunning.—Beaumarchais, _Mariage de Figaro_ (1784).

⁂ Several operas have been founded on these two comedies: _e.g._ Mozart’s _Nozze di Figaro_ (1786); Paisiello’s _Il Barbiere di Siviglia_ (1810); Rossini’s _Il Barbiere di Siviglia_ (1816).

_Fig´aro,_ the sweetheart of Susan (favorite waiting-woman of the Countess Almaviva). Figaro is never so happy as when he has two or three plots in hand.—T. Holcroft, _The Follies of a Day_ (1745-1809).

=Fighting Prelate= (_The_), Henry Spencer, bishop of Norwich. He opposed the rebels under Wat Tyler with the temporal sword, absolved them, and then sent them to the gibbet. In 1383 he went to assist the burghers of Ghent in their contest with the count of Flanders.

The bishop of Norwich, the famous “Fighting Prelate,” had led an army into Flanders.—Lord Campbell.

=Filch=, a lad brought up as a pick-pocket. Mrs. Peachum says, “He hath as fine a hand at picking a pocket as a woman, and is as nimble-fingered as a juggler. If an unlucky session does not cut the rope of thy life, I pronounce, boy, thou wilt be a great man in history” (act i. 1).—Gay, _The Beggar’s Opera_ (1727).

=Fi´ler=, a lean, churlish man, who takes poor Toby Veck’s tripe, and delivers him a homily on the sinfulness of luxury and self-indulgence.—C. Dickens, _The Chimes_ (1844).

=Filia Doloro´sa=, the Duchess d’Angoulême, daughter of Louis XVI. Also called “The Modern Antig´onê” (1778-1851).

=Fillan=, son of Fingal and Clatho, the most highly finished character in the poem of _Tem´ora_. Fillan was younger than his nephew Oscar, and does not appear on the scene until after Oscar’s death. He is rash and fiery, eager for military glory, and brave as a lion. When Fingal appointed Gaul to command for the day, Fillan had hoped his father’s choice might have fallen to his own lot. “On his spear stood the son of Clatho ... thrice he raised his eyes to Fingal; his voice thrice failed him as he spoke ... He strode away; bent over a distant stream ... the tear hung in his eye. He struck at times the thistle’s head with his inverted spear.” Yet showed he no jealousy, for when Gaul was in danger, he risked his own life to save him. Next day was Fillan’s turn to lead, and his deeds were unrivalled in dash and brilliancy. He slew Foldath, the general of the opposing army, but when Cathmor, “Lord of Atha,” the commander-in-chief, came against him, Fillan fell. His modesty was then as prominent as his bravery. “Lay me,” he said to Ossian, “in that hollow rock. Raise no stone above me ... I am fallen in the first of my fields, fallen without renown.” Every incident of Fillan’s life is beautiful in the extreme.—Ossian, _Temora_, v.

=Filippo= (_Don_). In love with Camilla, heroine of _Signor Monaldini’s Niece_. His wife is insane, and he suffers himself to become enamored of this young girl, who repels him with holy, heroic words. His conscience comes to his aid when she appeals to him. While he hesitates to speak the words of parting, she springs into a pool beside them, and is to all appearance drowned. While she lies unconscious, a telegram is brought, saying that his wife is dead. Camilla revives, after a long period of insensibility, and all is well.—Mary Agnes Tincker, _Signor Monaldini’s Niece_, (1879).

=Fillpot= (_Toby_), a thirsty old soul, who “among jolly topers bore off the bell.” It chanced as in dog-days he sat boosing in his arbor, that he died “full as big as a Dorchester butt.” His body turned to clay, and out of the clay a brown jug was made, sacred to friendship, mirth, and mild ale.

His body, when long in the ground it had lain, And time into clay had resolved it again, A potter found out in its covert so snug, And with part of fat Toby he formed this brown jug, Now sacred to friendship, to mirth, and mild ale. So here’s to my lovely sweet Nan of the vale. Rev. Francis Fawkes (1721-1777).

⁂ The two best drinking songs in the language were both by clergymen. The other is, _I Cannot Eat but Little Meat_, by John Still, bishop of Bath and Wells (1534-1607).

=Filome´na= (_Santa_). At Pisa the church of San Francisco contains a chapel lately dedicated to Santa Filomena. Over the altar is a picture by Sabatelli, which represents Filomena as a nymph-like figure floating down from heaven, attended by two angels bearing the lily, the palm, and a javelin. In the fore-ground are the sick and maimed, healed by her intercession.

Nor ever shall be wanting here The palm, the lily, and the spear: The symbols that of yore St. Filomena bore Longfellow, _St. Filomena_.

⁂ Longfellow calls Florence Nightingale “St. Filomena” (born at Florence, 1820).

=Finality John,= Lord John Russell (afterwards “Earl Russell”), who maintained that the Reform Bill of 1832 was a _finality_ (1792-1878).

=Finch= (_Margaret_), queen of the gypsies, who died aged 109, a.d. 1740. She was born at Sutton, in Kent, and was buried at Beckenham, in the same county.

_Finch_ (_Lucilla_). Blind girl whose sight is restored for a little while. The man she has loved while blind has received injuries that make him repulsive to the eye. His crafty brother contrives that the girl shall mistake him for her betrothed. A series of complications has a climax in the return of Miss Finch’s blindness, after which matters resume the former course and she marries the right man.—Wilkie Collins, _Poor Miss Finch_.

=Fine-ear,= one of the seven attendants of Fortunio. He could hear the grass grow, and even the wool on the sheep’s back.—Comtesse D’Aunoy, _Fairy Tales_ (“Fortunio,” 1682).

⁂ In Grimm’s _Goblin’s_ is the same fairy tale (“Fortunio”).

=Fin´etor,= a necromancer, father of the Enchantress Damsel.—Vasco de Lobeira, _Amadis de Gaul_ (thirteenth century).

=Finetta,= “the cinder girl,” a fairy tale by the Comtesse D’Aunoy (1682). This is merely the old tale of Cinderella slightly altered. Finetta was the youngest of three princesses, despised by them, and put to all sorts of menial work. The two sisters went to balls, and left Finetta at home in charge of the house. One day she found a gold key, which opened a wardrobe full of most excellent dresses; so arraying herself in one, she followed her sisters to the ball, but she was so fine that they knew her not, and she ran home before them. This occurred two or three times, but at last, in running home, she lost one of her slippers. The young prince resolved to marry her whose foot fitted the slipper, and Finetta became his wife. Finetta was also called Auricula or “Fine-ear.”

=Fingal= (or _Fion na Gael_).

His _father_ was Comhal or Combal, and his _mother_ Morna.

(Comhal was the son of Trathal, king of Morven, and Morna was the daughter of Thaddu.)

His first _wife_ was Roscrana, mother of Ossian. His second was Clatho, mother of Fillan, etc.

(Roscrana was the daughter of Cormac I. third king of Ireland).

His _daughter_ was Bosmi´na, and his _sons_ Ossian, Fillan, Ryno, and Fergus. (The son of Ossian was Oscar.)

(Fillan was younger than his nephew Oscar, and both, together with Ryno, were slain in battle before Fingal died.)

His _bard_ and _herald_ was Ullin. His _sword_ Luno, so called from its maker, Luno of Locklin (_Denmark_).

His _kingdom_ was Morven (_The northwest coast of Scotland_); his _capital_ Semo; his _subjects_ were Caledonians or Gaels.

After the restoration of Ferad-Artho to the throne of Ireland, Fingal “resigned his spear to Ossian,” and died A.D. 283.

_Fingal_, an epic in six books, by Ossian. The subject is the invasion of Ireland by Swaran, king of Lochlin (_Denmark_) during the reign of Cormac II. (a minor), and its deliverance by the aid of Fingal, king of Morven (_northwest coast of Scotland_). The poem opens with the overthrow of Cuthullin, general of the Irish forces, and concludes with the return of Swaran to his own land.

=Finger.= “Little finger tell me true.” When M. Argan wishes to pump his little daughter Louison, respecting a young gentleman who pays attentions to her elder sister, he says to the child, “Prenez-y bien garde au moins; car voilà un petit doigt, qui sait tout, qui me dira si vous mentez.” When the child has told him all she knows, he puts his little finger to his ear and says, “Voilà mon petit doigt pourtant qui gronde quelque chose. Attendez! Hé! Ah, ah! Oui? Oh, oh! voila mon petit doigt, qui me dit quelque chose que vous avez vu et que vous ne m’avez pas dit.” To which the child replies, “Ah! mon papa, votre petit doigt est un menteur.”—Molière, _Le Malade Imaginaire_, ii. 11 (1673).

=Finis Poloniæ.= These words are attributed (but without sufficient authority) to Koscziusko the Pole, when he lay wounded by the balls of Suwaroff’s troops on the field of Maciejowieze (October 10, 1794).

Percé de coups, Koscziusko s’écria en tombant “Finis Poloniæ.”—Michaud, _Biographie Universelle_.

=Finlayson= (_Luckie_), landlady of the lodgings in the Canongate of Edinburgh.—Sir W. Scott, _Guy Mannering_ (time, George II.).

=Fin´niston= (_Duncan_), a tenant of the laird of Gudgeonford.

_Luckie Finniston_, wife of Duncan.—Sir W. Scott, _Guy Mannering_ (time, George II.).

=Fion= (son of Comnal), an enormous giant, who could place one foot on Mount Cromleach, in Ulster, and the other on Mount Crommal, close by, and then dip his hand in the river Lubar, which ran between.

With one foot on the Crommal set and one on Mount Cromleach, The waters of the Lubar stream his giant hand could reach. _Translation of the Gaelic._

=Fiona,= a series of traditionary old Irish poems on the subject of Fion M’Comnal and the heroes connected with him.

=Fionnua´la,= daughter of Lir. Being transformed into a swan, she was doomed to wander over the lakes and rivers of Ireland till the Irish became Christians, but the sound of the first mass bell in the island was to be the signal of her release.

Silent, O Moyle, be the roar of thy water [_County Tyrone_] ... While murmuring mournfully Lir’s lonely daughter Tells to the night-star her tale of woes. When shall the “Swan,” her death-note singing, Sleep with wings in darkness furled? When will heaven, its sweet “bell” ringing, Call my spirit from this stormy world? T. Moore, _Irish Melodies_, iv. (“The Song of Fionnuala”).

=Fips= (_Mr_.), a sedate, mysterious personage, living in an office in Austin Friars (London). He is employed by some unknown benefactor (either John Westlock or old Martin Chuzzlewit) to engage Tom Pinch at a weekly salary as librarian to the Temple Library.—C. Dickens, _Martin Chuzzlewit_ (1844).

=Fir-bolg= (_i.e._ _bowmen_, from _bolg_, “a quiver”), a colony of Belgæ from Britain, led by Larthon to Ireland and settled in the southern parts of the island. Their chief was called “lord of Atha” (a country of Connaught), and thence Ireland was called Bolga. Somewhat later a colony of Caledonians from the western coast of Scotland settled in the northern parts of Ireland, and made Ulster their headquarters. When Crotha was “lord of Atha” he carried off Conlama (daughter of the Cael chief) by force, and a general war between the two races ensued. The Cael were reduced to the last extremity, and sent to Trathal (grandfather of Fingal) for aid. Trathal accordingly sent over Conar with an army, and on his reaching Ulster he was made “king of the Cael” by acclamation. He utterly subdued the Fir-bolg, and assumed the title of “king of Ireland;” but the Fir-bolg often rose in insurrection, and made many attempts to expel the race of Conar.—Ossian.

=Fire-Brand of France= (_The_) John duke of Bedford, regent of France (1389-1435).

John, duke of Bedford, styled the “Firebrand of France.”

Drayton, _Polyolbion_ xviii. (1613.)

=Firouz Schah=, son and heir of the king of Persia. One New Year’s Day an Indian brought to the king an enchanted horse, which would convey the rider almost instantaneously anywhere he might wish to go to; and asked as the price thereof, the king’s daughter for his wife. Prince Firouz, mounting the horse to try it, was carried to Bengal, and there fell in love with the princess, who accompanied him back to Persia on the horse. When the king saw his son arrive safe and sound he dismissed the Indian discourteously; but the Indian caught up the princess, and, mounting the horse, conveyed her to Cashmere. She was rescued by the sultan of Cashmere, who cut off the Indian’s head and proposed marriage himself to the princess. To avoid this alliance, the princess pretended to be mad. The sultan sent for his physicians, but they could suggest no cure. At length came one who promised to cure the lady; it was Prince Firouz in disguise. He told the sultan that the princess had contracted enchantment from the horse and must be set on it to disenchant her. Accordingly, she was set on the horse, and while Firouz caused a thick cloud of smoke to rise, he mounted with the lady through the air, saying as he did so, “Sultan of Cashmere, when you would espouse a princess who craves your protection, first learn to obtain her consent.”—_Arabian Nights_ (“The Enchanted Horse”).

=First Gentleman of Europe=, George IV. (1762, 1820-1830).

Louis d’Artois of France was so called also.

The “First Gentleman of Europe” had not yet quite lost his once elegant figure.—E. Yates, _Celebrities_ xvii.

=First Grenadier of France.= Latour d’Auverge was so called by Napoleon (1743-1800.)

=First Love=, a comedy by Richard Cumberland (1796.) Frederick Mowbray’s first love, being dowerless, marries the wealthy Lord Ruby, who soon dies leaving all his fortune to his widow. In the meantime, Frederick goes abroad, and at Padua falls in with Sabina Rosny, who nurses him through a severe sickness, for which he thinks he is bound in honor to marry her. She comes with him to England, and is placed under the charge of Lady Ruby. Sabina tells Lady Ruby she cannot marry Frederick, because she is married already to Lord Sensitive, and even if it were not so, she could not marry him, for all his affections are with Lady Ruby; this she discovers in the delirium of the young man, when his whole talk was about her ladyship. In the end Lord Sensitive avows himself the husband of Sabina, and Frederick marries his first love.

=Fish.=

_He eats no fish_, that is “he is no papist,” “he is an honest man or one to be trusted.” In the reign of Queen Elizabeth papists were the enemies of the government, and hence one who did not eat fish, like a papist, on fast days was considered a Protestant and a friend of the government.

I do profess ... to serve him truly that will put me in trust ... and to eat no fish.—Shakespeare, _King Lear_, act i. sc. 4 (1605).

=Fish and the Ring=.

1. Polycrătês, being too fortunate, was advised to cast away something he most highly prized, and threw into the sea an engraved gem of great value. A few days afterwards a fish came to his table, and in it was this very gem.—_Herodotus_, iii. 40.

2. A certain queen, having formed an illicit attachment to a soldier, gave him a ring which had been the present of her husband. The king, being apprised thereof, got possession of the ring while the soldier was asleep, threw it into the sea, and then asked his queen to bring it him. In great alarm, she went to St. Kentigern and told him everything. The saint went to the Clyde, caught a salmon with the ring in its mouth, and gave it to the queen, who thus saved her character and her husband. This legend is told about the Glasgow arms.

3. The arms of dame Rebecca Berry, wife of Sir Thomas Elton, Stratford-le-Bow, to be seen at St. Dunstan’s Church, Stepney. The tale is that a knight, hearing the cries of a woman in labor, knew that the infant was destined to become his wife. He tried to elude his destiny, and, when the infant had grown to womanhood, threw a _ring_ into the sea, commanding the damsel never to see his face again till she could produce the ring which he had cast away. In a few days a _cod-fish_ was caught, and the ring was found in its mouth. The young woman producing the ring, the marriage was duly solemnized.—_Romance of London_.

=Fisher= (_Ralph_), assistant of Roland Græme, at Avenel Castle.—Sir W. Scott, _The Abbot_ (time, Elizabeth).

_Fishers_ (_The_). Grandpa and Grandma Fisher live with daughter-in-law and two grandchildren in “The Ark” at Cedar-swamp. Grandpa is a retired sea-captain with a talent for tedious stories and a temper that is occasionally frayed. Grandma’s face has, “besides large physical proportions, generosity, whole-heartedness and a world of sympathy.” Both sleep in church, but grandma wakes up first, and arouses her husband with an adroit pin. He starts and looks guilty. She “opens her eyes at regular intervals,” as though she had merely been closing them to engage in a few moments of silent prayer.—Sally Pratt McLean Green, _Cape Cod Folks_ (1881).

=Fitz-Boo´dle= (_George_), a pseudonym assumed by Thackeray in _Frazer’s Magazine_ (1811-1863).

=Fitz-Fulke= (_Hebe, duchess of_), a “gracious graceful, graceless grace” (canto xvi. 49), staying with Lord and Lady Amundeville (4 _syl._), while Don Juan “the Russian envoy” was their guest. Don Juan fancied he saw in the night the apparition of a monk, which produced such an effect on his looks and behavior as to excite attention. When the cause of his peturbation was known, Lady Adeline sang to him a tale purporting to explain the apparition; but “her frolic grace” at night personated the ghost to carry on the joke. She was, however, discovered by Don Juan, who was resolved to penetrate the mystery. With this discovery the sixteenth and last book of _Don Juan_ ends.—Byron, _Don Juan_ (1824).

=Fitzurse= (_Lord Wildemar_), a baron in the suite of Prince John of Anjou (brother of Richard Cœur de Lion).—Sir W. Scott, _Ivanhoe_ (time, Richard I.).

=Five Kings of France=, the five directors (1795).

The five kings of France sit in their curule chairs with their flesh-colored breeches and regal mantles.—_Atalier du Lys_, ii.

=Flaccus=, Horace the Roman poet, whose full name was Quintus Horātius Flaccus (B.C. 65-8).

=Fladdock= (_General_), a friend of the Norris family in America, and, like them, devoted to titles, and aristocracy.—C. Dickens, _Martin Chuzzlewit_ (1844).

=Flam´berge= (2 _syl._), the sword which Maugis took from Anthe´nor the Saracen admiral, when he attacked the castle of Oriande la Fée. The sword was made by Weyland, the Scandinavian Vulcan.—_Romance of Maugis d’Aygremont et de Vivian son Frère_.

=Flamborough= (_Solomon_), farmer. A talkative neighbor of Dr. Primrose, vicar of Wakefield. Moses Primrose marries one of his daughters.

_The Misses Flamborough_, daughters of the farmer. Their homeliness contrasts well with the flashy pretenders to fashion introduced by Squire Thornhill.—Goldsmith, _Vicar of Wakefield_ (1766).

=Flame= (_Lord_), Johnson the jester and dramatist, author of _Hurlo-Thrumbo,_ an extravaganza (1729).

=Flammer= (_The Hon. Mr. Frisk_), a Cantab, nephew to Lord Totterly. He is a young gentleman with a vivid imagination, small income, and large debts.—C. Selby, _The Unfinished Gentleman_.

=Flammock= (_Wilkin_), a Flemish soldier and burgess at the Castle of Garde Doloureuse.

_Rose or Roschen Flammock_, daughter of Wilkin Flammock, and attendant on Lady Eveline.—Sir. W. Scott, _The Betrothed_ (time, Henry II.).

=Flanders= (_Moll_), a woman of extraordinary beauty, born in Old Bailey. She was twelve years a harlot, five years a wife, twelve years a thief, and eight years a convict in Virginia; but ultimately she became rich, lived honestly, and died a penitent in the reign of Charles II.—Defoe, _The Fortunes of Moll Flanders_.

=Flash= (_Captain_), a blustering, cowardly braggart, “always talking of fighting and wars.” In the Flanders war he pretended to be shot, sneaked off into a ditch, and thence to England. When Captain Loveit met him paying court to Miss Biddy Bellaw, he commanded the blustering coward to “deliver up his sword,” and added:

“Leave this house, change the color of your clothes and fierceness of your looks; appear from top to toe the very wretch thou art!”—D. Garrick, _Miss in Her Teens_ (1753).

=Fla´vius,= the faithful, honest steward of Timon the man-hater.—Shakespeare, _Timon of Athens_ (1600).

=Fle´ance,= in Shakespeare’s Macbeth, is the son of Banquo, one of Duncan’s trusted generals, and beloved and honored by Macbeth until the witches’ prophecy promises him the crown for which Macbeth has murdered the king. Macbeth resolves to destroy Banquo and his son, but while the father is murdered the son escapes, and the death-blow is given to Macbeth’s hope of an undisputed succession. Thus far the play; the chronicle makes Fleance become in time the Lord High Steward (Stewart, Stuart) of Scotland, and the ancestor of the House of Stuart which gave James I. to the English throne. James was very proud of this descent from Shakespeare’s Banquo, whose character was evidently drawn to flatter the king, since the Banquo of Holinshed’s Chronicle, from which the main of the play is drawn, is Macbeth’s partner in the murder of Duncan.

=Flecknoe= (_Richard_), poet-laureate to Charles II., author of dramas, poems, and other works. As a poet his name stands on a level with Bavius and Mævius. Dryden says of him:

... he reigned without dispute Thro’ all the realms of nonsense absolute. Dryden, _M’Flecnoe_ (1682).

(It was not Flecknoe but Shadwell that Dryden wished to castigate in this satire. The offence was that Dryden was removed from the post of laureate, and Shadwell appointed in his place. The angry ex-laureate says, with more point than truth, that, “Shadwell never deviates into sense.”)

=Fleda.= A winning child who grows into the lovely heroine of Susan Warner’s novel _Queechy_ (1852). Her simple faith and unaffected piety lead Mr. Carleton, a skeptical Englishman, into the right path. After many years and vicissitudes the two meet again in New York and are married in England.

=Fledge´by= (2 _syl._), an over-reaching, cowardly sneak, who conceals his dirty bill-broking under the trade name of Pubsey and Co. He is soundly thrashed by Alfred Lammle, and quietly pockets the affront.—C. Dickens, _Our Mutual Friend_ (1864).

=Fleecebump´kin= (3 _syl._), bailiff of Mr. Ireby, the country squire.—Sir W. Scott, _The Two Drovers_ (time, George III.).

=Fleece´em= (_Mrs._), meant for Mrs. Rudd, a smuggler, thief, milliner, matchmaker and procuress.—Sam. Foote, _The Cozeners_.

=Fleetwood= or _The New Man of Feeling_, the hero of a novel so named by W. Godwin (1805).

=Flemings= (_The Farmer_). Yeoman-farmer of Kent, dull, honest plodder.

_Dahlia_. Lovely girl, who goes off with _Edward Blancove_, believing herself married to him. Discovering the deception, she returns to the farm, and resumes her old life. When the penitent lover seeks her and would marry her, she refuses. “She has left her heart among the ashes of the fire” that consumed her youth and honor.

_Rhoda._ Devoted sister who seeks Dahlia until she is found, and cherishes her tenderly through life. Rhoda marries a farmer, and Dahlia lives for seven years as her housemate. George Meredith, _Rhoda Fleming_ (1888).

_Flem´ing_ (_Archdeacon_), the clergyman to whom old Meg Murdockson made her confession.—Sir W. Scott, _Heart of Midlothian_ (time, George II.).

_Fleming_ (_Sir Malcolm_), a former suitor of Lady Margaret de Hautlieu.—Sir W. Scott, _Castle Dangerous_ (time, Henry I.).

_Fleming_ (_Lady Mary_), one of the maids of honor to Mary Queen of Scots.—Sir W. Scott, _The Abbot_ (time, Elizabeth).

_Fleming_ (_Rose_), niece of Mrs. Maylie. Rose marries her cousin Harry Maylie.

She was past 17. Cast in so slight and exquisite a mould, so mild and gentle, so pure and beautiful, that earth seemed not her element, nor its rough creatures her fit companions. The very intelligence that shone in her deep blue eye ... seemed scarcely ... of the world, and yet the changing expression of sweetness and good-humor, the thousand lights that played about the face ... above all the smile, the cheerful, happy smile, were made for home and fireside peace and happiness.—C. Dickens, _Oliver Twist_, xxix. (1837).

=Flemish School= (_The_), a school of painting commencing in the fifteenth century, with the brothers Van Eyck. The chief _early_ masters were Memling, Van der Weyden, Matsys, and Mabuse. The chief of the _second_ period were Rubens, Vandyck, Snyders, Jordæns, Gaspar de Crayer and the younger Teniers.

=Flemming= (_Paul_), scholarly hero of Longfellow’s _Hyperion_. Among the storied ruins of the Old World, he wins his bride by weaving to her stories from his own imagination (1839).

=Fleshly School= (_The_), a class of British poets of which Swinburne, Rossetti, Morris, etc., are exponents; so called from the sensuous character of their poetry.

⁂ It was Thomas Maitland [_i.e._ R. W. Buchanan] who first gave them this appellation in the _Contemporary Review_.

=Fletcher= (_Dick_), one of the crew of a pirate vessel.—Sir W. Scott, _The Pirate_ (time, William III.).

_Fletcher_ (_Philip_), fine gentleman, suitor of Christie, in Louisa M. Olcot’s novel “_Work_.”

=Fleur de Marie=, the betrothed of Captain Phœbus.—Victor Hugo, _Notre Dame de Paris_ (1831).

=Fleurant=, an apothecary. He flies into a rage because Bérald (2 _syl._) says to his brother, “Remettez cela à une fois, et demeurez un peu en repos.” The apothecary flares out, “De quoi vous mêlez vous de vous opposer aux ordonnance de la medicine ... je vais dire à Monsieur Purgon comme on m’a empêché d’executer ses ordres.... Vous verrez, vous verrez.”—Molière, _La Malade Imaginaire_ (1673).

=Flib´bertigib´bet=, the fiend that gives man the squint eye and harelip, sends mildews and blight, etc.

This is the foul fiend Flibbertigibbet ... he gives the web and the pin [_diseases of the eye_], squints the eye, and makes the hare-lip; mildews the white heat, and hurts the poor creature of earth.—_King Lear_, act iii. sec. 4 (1605).

⁂ Shakespeare got this name from bishop Harsnett’s _Declaration of Popish Impostures_, where Flibberdigibet is one of the fiends which the Jesuits cast out of Mr. Edmund Peckham.

_Flib´bertigib´bet_, or “Dickie Sludge,” the dwarf grandson of Gammer Sludge (landlady of Erasmus Holiday, the schoolmaster in the vale of Whitehorse). In the entertainment given by the earl of Leicester to Queen Elizabeth, Dickon Sludge acts the part of an imp.—Sir W. Scott, _Kenilworth_ (time, Elizabeth).

=Flint= (_Lord_), chief minister of state to one of the sultans of India. He had the enviable faculty of a very short memory when he did not choose to recollect. “My people know, no doubt, but I cannot recollect,” was his stock phrase. Mrs. Inchbald, _Such Things Are_ (1786).

_Flint_, jailer in _The Deserter_, a musical drama by Dibdin (1770).

_Flint_ (_Sir Clement_), a very kind-hearted, generous old bachelor, who “trusts no one,” and though he professes his undoubted belief to be “that self is the predominant principle of the human mind,” is never so happy as when doing an unselfish and generous act. He settles £2000 a year on the young Lord Gayville, his nephew, that he may marry Miss Alton, the lady of his choice; and says, “To reward the deserving, and make those we love happy, is self-interest in the extreme.”—General Burgoyne, _The Heiress_ (1781).

=Flint Jack=, Edward Simpson, who used to tramp the kingdom, vending spurious flint arrow-heads, celts, and other imitation antiquities. In 1867 he was imprisoned for theft.

=Flippan´ta=, an intriguing lady’s-maid. Daughter of Mrs. Cloggit. She is in the service of Clarissa, and aids her in all her follies.—Sir John Vanbrugh, _The Confederacy_ (1695).

=Flite= (_Miss_), a poor crazed, good-hearted woman, who has lost her wits through the “law’s delay.” She is always haunting the Courts of Chancery with “her documents,” hoping against hope that she will receive a judgment.—C. Dickens, _Bleak House_, iv. (1852).

=Flock´hart= (_Widow_), landlady of the lodgings in the Canongate where Waverley and M’Ivor dine with the baron of Bradwardine (3 _syl._).—Sir W. Scott, _Waverley_ (time, George II.).

=Flogged by Deputy.= The Marquis de Leganez forbade the tutor of his son to use rigor or corporal punishment of any kind, so the tutor hit upon this device to intimidate the boy: he flogged a lad named Raphael, brought up with young Leganez as a playmate, whenever that young nobleman deserved punishment. This produced an excellent effect; but Raphael did not see its justice and ran away.—Lesage, _Gil Blas_, v. i. (1724).

=Flollo= or =Flollio=, a Roman tribune, who held the province of Gaul under the Emperor Leo. When King Arthur invaded Gaul, the tribune fled to Paris, which Arthur besieged, and Flollo proposed to decide the quarrel by single combat. To this Arthur agreed, and cleft with his sword Caliburn both the helmet and head of his adversary. Having made himself master of all Gaul, King Arthur held his court at Paris.—Geoffrey, _British History_, ix. 11 (1142).

And after these ... At Paris, in the lists [_Arthur_] with Flollio fought; The emperor Leon’s power to raise his siege that brought. Drayton, _Polyolbion_, iv. (1612).

=Flor and Blancheflor=, the title of a minnesong by Conrad Fleck, at one time immensely popular. It is the story of two children who fall in love with each other. There is a good deal of grace and tenderness in the tale, with an abundance of trash. Flor, the son of Feinix, a pagan king, is brought up with Blancheflor (an _enfant volé_). The two children love each other, but Feinix sells Blancheflor to some Eastern merchants. Flor goes in quest of Blancheflor, whom he finds in Babylon, in the palace of the sultan, who is a sorcerer. He gains access to the palace, hidden in a basket of roses; but the sultan discovers him, and is about to cast both into the flames, when, touched with human gentleness and love, he sets them free. They then return to Spain, find Feinix dead, and marry (fourteenth century).

=Flo´ra=, goddess of flowers. In natural history all the flowers and vegetable productions of a country and locality are called its flora, and all its animal productions its fauna.

_Flora_, the waiting-woman of Donna Violante. In love with Lissado, the valet of Don Felix.—Mrs. Centlivre, _The Wonder_ (1714).

Mrs. Mattocks’s was the most affecting theatrical leave taking we ever witnessed. The part she chose was “Flora,” to Cook’s “Don Felix,” which she played with all the freshness and spirit of a woman in her prime.—_The New Monthly_ (1826).

_Flora_, the niece of old Farmer Freehold. She is a great beauty, and captivates Heartwell, who marries her. The two are so well assorted that their “best love is after their espousals.”—John Philip Kemble, _The Farm-house_.

=Floranthe= (_Donna_), a lady beloved by Octavian. Octavian goes mad because he fancies Floranthê is untrue to him, but Roque, a blunt, kind-hearted servitor, assures him he is mistaken, and persuades him to return home.—G. Colman, _Octavian_ (1824).

=Flor´delice= (3 _syl._), the mistress of Bran´dimart (king of the Distant Islands).—Ariosto, _Orlando Furioso_ (1516).

=Flordespi´na=, daughter of Marsiglio.—Ariosto, _Orlando Furioso_ (1516).

=Florence= (_Vane_). The lost love eulogized in Philip Pendleton Cooke’s poem of that name.

“Thou wast lovelier than the roses In their prime; Thy voice excelled the closes Of sweetest rhyme; Thy heart was as a river Without a main. Would I had loved thee never, Florence Vane!” (185-).

=Florence=, Mrs. Spenser Smith, daughter of Baron Herbert, the Austrian ambassador in England. She was born at Constantinople, during her father’s residence in that city. Byron made her acquaintance in Malta, but Thomas Moore thinks his devotion was more imaginary than real. In a letter to his mother, his lordship says, he “finds her [_Florence_] very pretty, very accomplished, and extremely eccentric.”

Thou mayst find a new Calypso there Sweet Florence, could another ever share This wayward, loveless heart, it would be thine. Byron, _Childe Harold_, ii. 30 (1810).

_Florence_ (_The German_), Dresden, also called “The Florence of the North.”

_Florence_ (_Weir_). A beautiful girl committed to the care of a young man who expects to meet a child. Although hardly released from an engagement to another girl he falls in love with his charge, when his former flame recalls him, but generously resigns him to her younger rival.—Ellen Olney Kirk, _One too Many_ (1889).

=Florent=, the nephew of “the emperor,” is condemned to death, but is offered his life if he can solve a certain riddle. An old deformed hag promises him the solution if he will agree to marry her afterward. He keeps faith with his deliverer, and on the wedding-night she is transformed into a beautiful woman.—Gower, _Confessio Amantis_, I.

Chaucer puts this story into the mouth of “The Wife of Bath,” _Canterbury Tales_. He does not name the hero, but makes him a bachelor of King Artour’s court. The story is much older than Gower, and is found in the legends of several countries, but Chaucer probably borrowed it from him while changing it in details.

=Florentine Diamond= (_The_), the fourth largest cut diamond in the world. It weighs 139-1/2 carats, and was the largest diamond belonging to Charles “the Bold,” duke of Burgundy. It was picked up by a Swiss peasant, who sold it to a priest for half a crown. The priest sold it for £200 to Bartholomew May, of Berne. It subsequently came into the hands of Pope Julius II., and the pope gave it to the Emperor of Austria. (See DIAMONDS.)

=Flores= or Isle of Flowers, one of the Azores (2 _syl._). It was discovered in 1439 by Vanderburg, and is especially celebrated because it was near this isle that Sir Richard Grenville, in the reign of Queen Elizabeth, fought his famous sea-fight. He had only one ship with a hundred men, and was opposed by the Spanish fleet of fifty-three men-of-war. For some hours victory was doubtful, and when Sir Richard was severely wounded, he wanted to sink the ship; but the Spaniards boarded it, complimented him on his heroic conduct, and he died. As the ship (_The Revenge_) was on its way to Spain, it was wrecked, and went to the bottom, so it never reached Spain after all. Tennyson has a poem on the subject (1878).

_Flo´res_ (2 _syl._), the lover of Blanchefleur.—Boccaccio, _Il Filocopo_ (1340)

⁂ Boccaccio has repeated the tale in his _Decameron_, x. 5 (1352), in which Flores is called “Ansaldo,” and Blanchefleur “Diano´ra.” Flores and Blanchefleur, before Boccaccio’s time, were noted lovers, and are mentioned as early as 1288 by Matfre Ermengaud de Beziers, in his _Breviaire d’Amour_.

Chaucer has taken the same story as the basis of the _Frankeleine’s Tale_, and Bojardo has introduced it as an episode in his _Orlando Innamorato_, where the lover is “Prasildo” and the lady “Tisbina.” (See PRASILDO.)

The chroniclers of Charlemagne, Of Merlin, and the Mort d’Arthure, Mingled together in his brain, With tale of Flores and Blanchefleur. Longfellow.

=Flores´ki= (_Count_), a Pole, in love with Princess Lodois´ka (4 _syl._). At the opening of the play he is travelling with his servant Verbel to discover where the princess has been placed by her father during the war. He falls in with the Tartar chief Kera Khan, whom he overpowers in fight, but spares his life, and thus makes him his friend. Floreski finds the princess in the castle of Baron Lovinski, who keeps her a virtual prisoner, but the castle being stormed by the Tartars the baron is slain, and the princess marries the count.—J.P. Kemble, _Lodoiska_.

=Flo´rez=, son of Gerrard, king of the beggars. He assumes the name of Goswin, and becomes, in Bruges, a wealthy merchant. His mistress is Bertha, the supposed daughter of Vandunke the burgomaster.—Beaumont and Fletcher, _The Beggars’ Bush_ (1622).

=Flor´ian=, the “foundling of the forest,” discovered in infancy by the Count De Valmont, and adopted as his own son. Florian is light-hearted and volatile, but with deep affection, very brave, and the delight of all who know him. He is betrothed to his cousin, Lady Geraldine, a ward of Count De Valmont.—W. Dimond, _The Foundling of the Forest_.

=Florida= (_Vervain_), American girl with her mother in Venice. She takes Italian lessons from Don Ippolito, a young priest, who has mistaken his calling. The girl’s pity for him and her desire to see him freed from a false position and in a different profession in America are misunderstood by her lover, Henry Ferris. Separation and sorrow ensue. Ippolito’s death-bed confession to Ferris clears up the mystery.

“If it is a little shocking, it is nevertheless true, and true to human nature that they spoke of Don Ippolito as if he were a part of their love.”—W.D. Howells, _A Foregone Conclusion_, (1874).

=Flor´imel=, “the Fair,” courted by Sir Sat´yrane, Sir Per´idure, and Sir Cal´idore (each 3 _syl._), but she herself “loved none but Mar´inel,” who cared not for her. When Marinel was overthrown by Britomart and was reported to be dead, Florimel resolved to search into the truth of this rumor. In her wanderings, she came weary to the hut of a hag, but when she left the hut the hag sent a savage monster to bring her back. Florimel, however, jumped into a boat and escaped, but fell into the hands of Proteus (2 _syl._), who kept her in a dungeon “deep in the bottom of a huge great rock.” One day, Marinel and his mother went to a banquet given by Proteus to the sea-gods; and as Marinel was loitering about, he heard the captive bemoaning her hard fate, and all “for love of Marinel.” His heart was touched; he resolved to release the prisoner, and obtained from his mother a warrant of release, signed by Neptune himself. Proteus did not dare to disobey, the lady was released, and became the happy bride of her liberator.—Spenser, _Faëry Queen_, iii. 4, 8, and iv. 11, 12 (1590-1596).

⁂The name Florimel means “honey-flower.”

_Florimel_ (_The False_), made by a witch of Riphæ´an snow and virgin wax, with an infusion of vermilion. Two burning lamps in silver sockets served for eyes, fine gold wire for locks, and for soul “a sprite that had fallen from heaven.” Braggadoccio, seeing this false Florimel, carried “her” off as the veritable Florimel; but when he was stripped of his borrowed plumes, this waxen Florimel vanished into thin air, leaving nothing behind except the “golden girdle that was about her waist.”—Spenser, _Faëry Queen_, iii. 8, and v.3 (1590-1596).

=Florimel’s Girdle=, a girdle which gave to those who wore it, “the virtue of chaste love and wifehood true;” if any woman not chaste or faithful put it on, it immediately “loosed or tore asunder.” It was once the cestus of Venus, but when that queen of beauty wantoned with Mars, it fell off and was left on the “Acidalian mount.”—Spenser, _Faëry Queen_, iv. 2 (1596).

One day Sir Cambel, Sir Triamond, Sir Paridel, Sir Blandamour, and Sir Ferramont agreed to give Florimel’s girdle to the most beautiful lady; when the previous question was moved, “Who was the most beautiful?” Of course, each knight, as in duty bound, adjudged his own lady to be the paragon of women, till the witch’s image of snow and wax, made to represent Florimel, was produced, when all agreed that it was without a peer, and so the girdle was handed to “the false Florimel.” On trying it on, however, it would in no wise fit her; and when by dint of pains it was at length fastened, it instantly loosened and fell to the ground. It would fit Amoret exactly, and of course Florimel, but not the witch’s thing of snow and wax.—Spenser, _Faëry Queen_, iv. 5 (1596).

⁂ Morgan la Fée sent King Arthur a _horn_, out of which no lady could drink “who was not to herself or to her husband true.” Ariosto’s _enchanted cup_ possessed a similar spell.

A boy showed King Arthur a _mantle_ which no wife not leal could wear. If any unchaste wife or maiden put it on, it would either go to shreds or refuse to drape decorously.

At Ephesus was a _grotto_ containing a statue of Diana. If a chaste wife or maiden entered, a reed there (presented by Pan) gave forth most melodious sounds; but if the unfaithful or unchaste entered, the sounds were harsh and discordant.

Alasnam’s _mirror_ remained unsullied when it reflected the unsullied, but became dull when the unchaste stood before it. (See CARADOC, p. 160.)

=Florin´da=, daughter of Count Julian, one of the high lords in the Gothic court of Spain. She was violated by King Roderick; and the count, in his indignation, renounced the Christian religion and called over the Moors, who came to Spain in large numbers and drove Roderick from the throne. Orpas, the renegade archbishop of Sev´ille, asked Florinda to become his bride, but she shuddered at the thought. Roderick, in the guise of a priest, reclaimed Count Julian as he was dying, and as Florinda rose from the dead body:

Her cheek was flushed, and in her eyes there beamed A wilder brightness. On the Goth [_Roderick_] she gazed. While underneath the emotions of that hour Exhausted life gave way.... Round his neck she threw Her arms, and cried “My Roderick; mine in heaven!” Groaning, he claspt her close, and in that act And agony her happy spirit fled. Southey, _Roderick, etc._, xxiv. (1814).

=Flo´ripes= (3 _syl._), sister of Sir Fierabras [_Fe.ā´.ra.brah_], daughter of Laban, and wife of Guy, the nephew of Charlemagne.

=Florisan´do= (_The exploits and adventures of_), part of the series of _Le Roman des Romans_, or those pertaining to Am´adis of Gaul. This part (from bk. vi. to xiv.) was added by Paez de Ribēra.

=Florise=, (_The lady_), attendant on Queen Berengaria.—Sir W. Scott, _The Talisman_, (time, Richard I.)

=Flor´isel of Nice’a= (_The exploits and adventures of_), part of the series called _Le Roman des Romans_, pertaining to Am´adis of Gaul. This part was added by Feliciano de Silva.

=Flor´ismart=, one of Charlemagne’s paladins, and the bosom friend of Roland.

=Florival= (_Mdlle._), daughter of a French physician in Belleisle. She fell in love with Major Belford, while nursing him in her father’s house during a period of sickness. Her marriage however was deferred, from the great aversion of the major’s father to the French, and he went to Havana. In due time he returned to England and Colonel Tamper with him. Now Colonel Tamper was in love with Emily, and wishing to try the strength of her affection, pretended to be severely mutilated in the wars. Florival was a guest of Emily at the time, and, being apprised of the trick, resolved to turn the tables on the colonel, so when he entered the room as a maimed soldier, he found there Florival, dressed as an officer, and, under the name of Captain Johnson, flirting most desperately with Emily. The colonel was mad with jealousy, but in the very whirlwind of his rage, Major Belford recognized Mdlle. Florival, saw through the trick, and after a hearty good laugh at the colonel all ended happily.—Colman, sen., _The Deuce is in Him_ (1762).

=Flor´izel=, son of Polixenês, king of Bohemia. In a hunting expedition, he saw Perdita (the supposed daughter of a shepherd), fell in love with her, and courted her under the assumed name of Dor´icles. The king tracked his son to the shepherd’s house, and told Perdita that if she gave countenance to this foolery he would order her and the shepherd to be put to death. Florizel and Perdita then fled from Bohemia, and took refuge in Sicily. Being brought to the court of King Leontês, it soon became manifest that Perdita was the king’s daughter. Polixenês, in the mean time, had tracked his son to Sicily, but when he was informed that Perdita was the king’s daughter, his objection to the marriage ceased, and Perdita became the happy bride of Prince Florizel.—Shakespeare, _The Winter’s Tale_ (1604).

_Florizel_, the name assumed by George IV. in his correspondence with Mrs. Robinson (actress and poetess), generally known as Per´dita, that being the character in which she first attracted his attention when prince of Wales.

⁂ George IV. was generally nicknamed “Prince Florizel.”

=Flower of Chivalry=, Sir William Douglas, knight of Liddesdale (*-1353). Sir Philip Sidney, statesman, poet, and soldier, was also called “The Flower of Chivalry” (1554-1586). So was the Chevalier de Bayard, _le Chevalier sans Peur et sans Reproche_ (1476-1514).

=Flower of Kings.= Arthur is so called by John of Exeter (sixth century).

=Flower of Poets=, Geoffrey Chaucer (1328-1400).

=Flower of the Levant´.= Zantê is so called from its great beauty and fertility.

Zante! Zante! flor di Levanti.

=Flower of Yarrow= (_The_), Mary Scott, daughter of Sir William Scott of Harden.

=Flowers= (_The Death of the_). In the poem bearing this title William Cullen Bryant thus names the American flowers that have been called “the crown-jewels of the year.”

“On the hill the golden-rod And the aster in the wood, And the yellow sunflower by the brook, In autumn beauty stood, Till fell the frost from the clear, cold heaven As falls the plague on men And the brightness of their smile was gone From upland, glade and glen.” _The Death of the Flowers_ (1821-1834).

=Flowerdale= (_Sir John_), father of Clarissa, and the neighbor of Colonel Oldboy.—Bickerstaff, _Lionel and Clarissa_.

=Floyd= (_Ireson_).

“Old Floyd Ireson, for his hard heart Tarred and feathered, and carried in a cart By the women of Marblehead.”

The punishment was inflicted because he had refused succor to a leaking ship, lost in consequence of his inhumanity.—J.G. Whittier, _Skipper Ireson’s Ride_ (1877).

_Floyds_ (_The_). Artist and wife summering in Broughton, Mass. He is self-indulgent and careless of her; she proud, passionate and morbid. Convinced that her husband is weary of her, and beset by the importunities of another man, she drowns herself.—Bliss Perry, _The Broughton House_ (1890).

=Fluel´len=, a Welsh captain and great pedant, who, amongst other learned quiddities, drew this parallel between Henry V. and Alexander the Great: One was born in Monmouth and the other in Macedon, both which places begin with M, and in both a river flowed.—Shakespeare, _Henry V._